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1

“In the Head of the Worthiest Women”: Amazon Queens and Performing Heroines in Jacobean Court Masques

100%
De Benedictis M.
Gender Studies
|
2012
|
vol. 11
|
issue 1
51-67
EN
Queen Anne of Denmark’s role - as actress and patroness - in emancipating womanliness onstage by direct performance is strictly connected to the emerging trend of fashioning masques in the early Jacobean court. My paper will focus on the connection/contamination of this dramatic phenomenon with the current imagery of acting warlike heroines, conflicting Anne’s policy for entertainments with masculine and royal anxieties
2

“That have such moral emblems on your name”: The emblematic motifs in Ben Jonson’s Volpone

99%
Borkowski R.
Beyond Philology: An International Journal of Linguistics, Literary Studies and English Language Teaching
|
2015
|
issue 12
139-161
EN
In his Volpone (1606), the most famous and significant play of the greatest of Shakespeare’s rivals, Ben Jonson incorporates, combines and recycles popular motifs known from literature and art in order to use them as a mirror to reflect Renaissance society. The persons of the play are equipped with features which resemble animated emblems from Cesare Ripa’s Iconologia and other emblematic volumes, extremely popular among the Renaissance audience. The aim of this article is to prove that Ben Jonson transfigures the motifs and emblematic characters from one branch of art, for instance graphic emblems, into the language of theatre.
FR
Dans Volpone (1606), la pièce la plus importante et la plus connue du rival majeur de William Shakespeare, Ben Johnson exploite et transforme les motifs populaires connus de la littérature et de l’art. Il les présente comme dans un miroir qui reflète les vices de la société de la renaissance. Les caractères des personnages font penser aux emblèmes des cartes d’Iconologia de Cesare Ripa et aux autres livres emblématiques populaires auprès du public de l’époque. L’objectif du présent article est de montrer comment Ben Johnson traduit les motifs et les personnages emblématiques d’un domaine artistique, ici le dessin emblématique, vers la langue du théâtre.
PL
W Volpone (1606), najważniejszej i najsłynniejszej sztuce największego rywala Williama Shakespeare’a, Ben Jonson wykorzystuje i przetwarza popularne motywy znane z literatury i sztuki na zasadzie zwierciadła, które odbija przywary renesansowego społeczeństwa. Osoby dramatu zostały wyposażone w cechy, które przypominają ożywione emblematy z kart Iconolgii Cesare Ripy oraz innych ksiąg emblematycznych popularnych wśród renesansowej publiczności. Celem niniejszego artykułu jest ukazanie, w jaki sposób Ben Jonson przekształca motywy oraz postacie emblematyczne z jednej dziedziny sztuki, jaką jest np. grafika emblematyczna, na język teatru.
3
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Black, White and Blue: Pregnancy and Unsettled Binaries in The Masque of Blackness (1605)

72%
Aebischer P., Sparey V.
Multicultural Shakespeare: Translation, Appropriation and Performance
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2020
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vol. 22
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issue 37
15-36
EN
This article examines the construction of national and racial identities within Ben Jonson’s and Inigo Jones’s Masque of Blackness against the backdrop of King James’ investment in creating a ‘British’ union at the start of his reign. The article re-examines the blackface performance of the Queen and her ladies in the contexts of the Queen’s and Inigo Jones’ European connections, the Queen’s reputation as ‘wilful’, and her pregnant body’s ability to evoke widespread cultural beliefs about the maternal imagination’s power to determine a child’s racial make-up. We argue that the masque’s striking use of blue-face along with black and white-face reveals a deep investment in Britain’s ancient customs which stands in tension with Blackness’ showcasing of foreign bodies, technologies, and cultural reference points. By demonstrating the significance of understanding Queen Anna’s pregnancy and her ‘wilful’ personality within the context of early modern humoral theory, moreover, we develop existing discussions of the humoral theory that underpins the masque’s representation of racial identities. We suggest that the Queen’s pregnant performance in blackface, by reminding the viewer that her maternal mind could ‘will’ the racial identity of royal progeny into being, had the power to unsettle King James I’s white male nationalist supremacy in the very act of celebrating it before their new English court and its foreign guests.
4
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“Welcome to the Heart of the City”: Mappings of London in Early City Comedies

71%
Frenk J.
Studia Historyczne
|
2017
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vol. 60
|
issue 2 (238)
17-30
PL
This essay looks at the ways in which the evolving early modern urban space of London was re-presented to early modern Londoners. It focuses on aspects of how the sprawling city was culturally and literally mapped out in theatrical and other performances. It discusses in particular Thomas Middleton’s A Chaste Maid in Cheapside and Ben Jonson’s The Alchemist as plays that commented respectively on the Cheapside as a luxury market and on Blackfriars as an up-and-coming quarter boasting a new and successful theatrical venue. The area between the city and Westminster is also discussed, as is the spatial particularity of Windsor described and performed in Shakespeare’s The Merry Wives of Windsor and in contemporary chorography.
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