Why the English Reformation succeeded demonising witches but failed with fairies

2021 ◽  
pp. 188-210
Author(s):  
N. S. Zelezinskaya
Keyword(s):  
Early Modern ◽  
English Reformation ◽  
Midsummer Night's Dream ◽  
James I ◽  
Modern Times ◽  
Factors Influencing ◽  
A Midsummer Night's Dream ◽  
Court Proceedings ◽  
Early Modern Times

The article aims to explain the significance of Shakespeare’s transformations of the fairy image (A Midsummer Night’s Dream), which represent a shiſt in English mentality in early modern times and establish astill relevant tradition. The author follows the evolution of the perception of thesupernatural in popular consciousness, contemporary documents (bestiaries, treatises, and court proceedings), as well as literature (Spenser, Chaucer, and Milton). N. Zelezinskaya proceeds to identify the factors influencing the image of fairies in a religious, cultural, and philosophical context: opinions of d’Abano, Buridan, and Pomponazzi; the division into divine and false miracles, the Protestant crusade against the belief in spirits, the association of fairies with Papism, Elizabethan masquerades, and fears of James I and others. The article mentions the two traditions in thedepiction of fairies and explores the unique quality of Shakespearean images: agglutination of the two traditions in the same play, transformed appearance of fairies, distancing from the witchcraſt discourse, enhancement of positive connotations, and downgrading of the fairy queen’s image.

La otredad: ¿real o inventada? El caso de las brujas

1999 ◽  
pp. 21-33
Author(s):  
Elia Nathan Bravo
Keyword(s):  
Early Modern ◽  
Social Inequalities ◽  
Strict Sense ◽  
Empirical Content ◽  
Extreme Situation ◽  
Modern Times ◽  
The Witch ◽  
Early Modern Times ◽  
The One ◽  
In Virtue Of

The purpose of this paper is two-fold. On the one hand, it offers a general analysis of stigmas (a person has one when, in virtue of its belonging to a certain group, such as that of women, homosexuals, etc., he or she is subjugated or persecuted). On the other hand, I argue that stigmas are “invented”. More precisely, I claim that they are not descriptive of real inequalities. Rather, they are socially created, or invented in a lax sense, in so far as the real differences to which they refer are socially valued or construed as negative, and used to justify social inequalities (that is, the placing of a person in the lower positions within an economic, cultural, etc., hierarchy), or persecutions. Finally, I argue that in some cases, such as that of the witch persecution of the early modern times, we find the extreme situation in which a stigma was invented in the strict sense of the word, that is, it does not have any empirical content.

Shakespeare Afoot

2018 ◽  
Author(s):  
John Kerrigan
Keyword(s):  
Early Modern ◽  
Richard Iii ◽  
Midsummer Night's Dream ◽  
As You Like It ◽  
A Midsummer Night's Dream ◽  
History Of ◽  
The Way

That Shakespeare adds a limp to the received characterization of Richard III is only the most conspicuous instance of his interest in how actors walked, ran, danced, and wandered. His attention to actors’ footwork, as an originating condition of performance, can be traced from Richard III through A Midsummer Night’s Dream and As You Like It into Macbeth, which is preoccupied with the topic and activity all the way to the protagonist’s melancholy conclusion that ‘Life’s but a walking shadow, a poor player | That struts and frets his hour upon the stage’. Drawing on classical and early modern accounts of how people walk and should walk, on ideas about time and prosody, and the experience of disability, this chapter cites episodes in the history of performance to show how actors, including Alleyn, Garrick, and Olivier, have worked with the opportunities to dramatize footwork that are provided by Shakespeare’s plays.

Shakespeare’s Dancing Bodies

2019 ◽  
pp. 172-196
Author(s):  
Brandon Shaw
Keyword(s):  
Early Modern ◽  
Modern Dance ◽  
The Body ◽  
Literary Texts ◽  
Somatic Psychology ◽  
Body Parts ◽  
Social Significance ◽  
Romeo And Juliet ◽  
Modern Times ◽  
Early Modern Times

Romeo’s well-known excuse that he cannot dance because he has soles of lead is demonstrative of the autonomous volitional quality Shakespeare ascribes to body parts, his utilization of humoral somatic psychology, and the horizontally divided body according to early modern dance practice and theory. This chapter considers the autonomy of and disagreement between the body parts and the unruliness of the humors within Shakespeare’s dramas, particularly Romeo and Juliet. An understanding of the body as a house of conflicting parts can be applied to the feet of the dancing body in early modern times, as is evinced not only by literary texts, but dance manuals as well. The visuality dominating the dance floor provided opportunity for social advancement as well as ridicule, as contemporary sources document. Dance practice is compared with early modern swordplay in their shared approaches to the training and social significance of bodily proportion and rhythm.

The Role of War in Modern Inflation

1977 ◽  
Vol 37 (1) ◽  
pp. 13-19 ◽  
Author(s):  
Earl J. Hamilton
Keyword(s):  
World War Ii ◽  
Social Welfare ◽  
Early Modern ◽  
World War ◽  
Price Inflation ◽  
Modern Times ◽  
Paper Currency ◽  
Deficit Financing ◽  
Early Modern Times

Wars in early modern times, although frequent, generated little price inflation because of their limited demands on real resources. The invention of paper currency and the resort to deficit financing to pay for wars changed that situation. In recent centuries wars have been the principal causes of inflation, although since World War II programs of social welfare unmatched by offsetting taxation have also fueled inflationary flames.

The Justification of War and International Order

2021 ◽  
Keyword(s):  
International Relations ◽  
Early Modern ◽  
International Law ◽  
Use Of Force ◽  
International Order ◽  
Frame Of Reference ◽  
Pertinent Literature ◽  
Modern Times ◽  
History Of ◽  
Early Modern Times

The history of war is also a history of its justification. The contributions to this book argue that the justification of war rarely happens as empty propaganda. While it is directed at mobilizing support and reducing resistance, it is not purely instrumental. Rather, the justification of force is part of an incessant struggle over what is to count as justifiable behaviour in a given historical constellation of power, interests, and norms. This way, the justification of specific wars interacts with international order as a normative frame of reference for dealing with conflict. The justification of war shapes this order and is being shaped by it. As the justification of specific wars entails a critique of war in general, the use of force in international relations has always been accompanied by political and scholarly discourses on its appropriateness. In much of the pertinent literature the dominating focus is on theoretical or conceptual debates as a mirror of how international normative orders evolve. In contrast, the focus of the present volume is on theory and political practice as sources for the re- and de-construction of the way in which the justification of war and international order interact. The book offers a unique collection of papers exploring the continuities and changes in war discourses as they respond to and shape normative orders from early modern times to the present. It comprises contributions from International Law, History and International Relations and from Western and non-Western perspectives.

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