scholarly journals Nombre y renombre: el testamento de Alonso Quijano

2021 ◽  
Author(s):  
Gonzalo Díaz-Migoyo
Keyword(s):  
Last Will And Testament

Fame, the main purpose of don Quixote’s behaviour, is also Alonso Quijano’s principal concern in his deathbed. His last will and testament intend to ensure that his posthumous renown shall not be limited to his quixotic ill fame, rather that his present anti-chivalric stance shall make his pre-quixotic sanity memorable, as well as that of his last moments (deserving thus the honourable name of Alonso Quijano el Bueno). The analysis of the testament’s provisions (mandas) reveals the extent to which this common desire informs all of them.

THE LAST WILL AND TESTAMENT OF HETMAN ZOLKIEWSKI

1944 ◽  
Vol 25 (292) ◽  
pp. 265-271
Author(s):  
A. Z. Gordon
Keyword(s):  
Last Will And Testament

The Last Will and Testament of Stephen J. Field

1957 ◽  
Vol 36 (1) ◽  
pp. 41-55
Author(s):  
John C. Hogan ◽  
Ewald W. Schnitzer
Keyword(s):  
Last Will And Testament

scholarly journals Masterful Women: Colonial Women Slaveholders in the Urban Low Country

2005 ◽  
Vol 39 (3) ◽  
pp. 383-402 ◽  
Author(s):  
INGE DORNAN
Keyword(s):  
Family Wealth ◽  
Low Country ◽  
Last Will And Testament

When Abraham Minis, merchant and tavern keeper, of Savannah, Georgia sat down to draw up his last will and testament he faced a heart-wrenching dilemma: how would he successfully provide for all of his eight children and also ensure that his beloved wife Abigail would have enough to live out the rest of her days in widowhood in comfort? Three years later, in spring 1757, Abraham died. When his will was read, there were thankfully no surprises for Abigail and their children – Abraham had followed Low Country custom regarding the division of family wealth. He gave his three sons his horses and mares and left five daughters all of his black cattle. It was Abigail, he explained, who was to inherit “all the rest of my Estate both real and personal” to be “enjoyed by her” so that she would be able to “maintain educate and bring up our children.” He sealed his love, approval, and trust in his wife's abilities to meet this request by nominating her his sole executrix. Any help that she might need when settling the affairs of his estate, he observed, would be provided by his loyal friends Joseph Phillips and Benjamin Sheftall, who would assist and advise her.

scholarly journals Re-shaping King Lear: Space, Place, Costume, and Genre

Linguaculture ◽  
2017 ◽  
Vol 2017 (1) ◽  
pp. 9-22
Author(s):  
Michael Hattaway
Keyword(s):  
Performance Studies ◽  
King Lear ◽  
Test Case ◽  
Richard Ii ◽  
Titus Andronicus ◽  
Critical Studies ◽  
Troilus And Cressida ◽  
Character Reading ◽  
Mind's Eye ◽  
Last Will And Testament

Abstract Performance studies must enjoy parity of esteem with critical studies because they remind us of the plurality of “readings” that are generated by a Shakespearean text. Shakespeare seems to have apprehended this when, in Othello, he used a nonce-word, “denotement”, which applies to Othello’s reading of his wife in his mind’s eye. I examine other sequences in which we watch a character “reading” on-stage or imagined action, in Hamlet, Titus Andronicus, Cymbeline, Richard II, and Troilus and Cressida. In Hamlet this involves re-reading as well as generic displacement, which, I argue, is a way of rendering inwardness. As I test case, I analyse a production of King Lear by Shakespeare’s Globe, on a fairground stage, in which the king reshaped himself, became a folkloric figure, like a figure in Nashe’s Summer’s Last Will and Testament. The play itself was thus, indecorously, reshaped as “The Tale of King Lear”. “Dramatic truth”, therefore, in no way depends upon theatrical “realism”.

The Last Will and Testament of a Sicilianconverso

2000 ◽  
Vol 159 (3) ◽  
pp. 447-459
Author(s):  
Nadia ZELDES
Keyword(s):  
Last Will And Testament

Prototypes of Festive Comedy in a Pageant Entertainment: Summer’s Last Will and Testament

2011 ◽  
Author(s):  
C. L. Barber
Keyword(s):  
Midsummer Night's Dream ◽  
A Midsummer Night's Dream ◽  
Last Will And Testament

This chapter focuses on Nashe's Summer's Last Will and Testament. Written two or three years before A Midsummer Night's Dream, it presents a variety of roles, gestures, and ways of talking which were current in pageantry and game, precisely the traditional materials which Shakespeare used in developing festive comedy. Nashe's piece, because it is a pageant, is not completely detachable from the occasion of its production. Read for a play, it often seems jerky and sprawling, without a controlling movement. It lacks the control provided by plot, by events inside the fiction, because the event it was designed to express was the occasion of its performance.

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