English Renaissance Drama and Cultures of Performance

a kurzus adatai

a kurzus címe

English Renaissance Drama and Cultures of Performance

az oktató neve

Matuska Ágnes

a kurzus kódja


az óra helye

Language Lab 2 (Tolmácsterem)

az óra időpontja

Wednesday 12-14

a kurzus leírása

rövid (300–500 karakteres) szöveges leírás

This class will provide students with a critical analysis of the major achievements in the history of English drama before the Restoration, as well as an apparatus of theoretical and interpretive tools to be employed in the contextual understanding of the dramatic achievement of the early modern period. The course will focus on problems of interrelationships between dramatic art and the dominant cultural, political, representational discourses that informed the development of specific modes of dramatic expression.

részletes (hetekre bontott) tematika

  • Introduction.
  • Forms of playing in Tudor and Jacobean England. Mankind. Reading: Gash, Antony. 1986. “Carnival against Lent: The Ambivalence of Medieval Drama” in David Aers, Mediaeval Literature: Criticism, Ideology and History. Sussex, Harvester Press Ltd.
  • Jack Jugeler. Reading: Peterson, Douglas L. 1992. “The Origins of Tudor Comedy: Plautus, Jack Jugeler, and the Folk-Play as Mediating Form. In David G. Allen and Robert A. White eds., The Work of Dissimilitude. Newark: University of Delaware Press, 105-115.
  • Playhouses and players; Drama and society
  • Thomas Kyd: The Spanish Tragedy. Reading: West, William N. 2008. "But this will be a mere confusion": Real and Represented Confusions on the Elizabethan Stage. Theatre Journal, Volume 60, Number 2, 217-233. Recommended: Shapiro, James. 1991. “’Tragedies naturally performed’: Kyd’s Representation of Violence.” In David Scott Kastan and Peter Stallybrass eds. Staging the Renaissance, New York and London: Routledge.


  1. Christopher Marlowe: Dr Faustus. Reading: Dollimore, Jonathan. 1984. “Dr. Faustus: Subversion Through Transgression.” In Radical Tragedy. Chicago: University of Chicago Press. Recommended: Bevington, David. 1962. From Mankind to Marlowe. “The Conflict of Conscience and Doctor Faustus”. Cambridge: Harvard University Press.
  2. William Shakespeare: Richard III. Reading: Van Elk, Martine. 2007. “Determined to prove a villain: Criticism, Pedagogy and Richard III.” College Literature. 34.4. (Fall), 1-19. Recommended: Moulton, Ian F. 1996. "A Monster Great Deformed": The Unruly Masculinity of Richard III.” Shakespeare Quarterly, Vol. 47, No. 3 (Autumn), 251-268.
  3. William Shakespeare: A Midsummer Night’s Dream. Reading: Montrose, Louis Adrian. 1983. “‘Shaping Fantasies’: Figurations of Gender and Power in Elizabethan Culture”. Representations. No. 2 (Spring), 61-94. Recommended: Wiles, David. 1998. “The Carnivalesque in A Midsummer Night’s Dream.” In Ronald Knowles ed. Shakespeare and Carnival. London: Macmillan.
  4. William Shakespeare: Othello. Reading: Belsey, Catherine. 2005. “Iago the Essayist: Florio between Montaigne and Shakespeare.” In Andreas Höfele and Werner von Koppenfels eds. Renaissance Go-Betweens. Berlin and New York: Walter de Gruyter.
  5. William Shakespeare: King Lear. Reading: Knight, G. Wilson. 1949. “The Lear Universe”. In: The Wheel of Fire. 1949. London: Methuen. Recommended: ibid. “King Lear and the Comedy of the Grotesque”.
  6. William Shakespeare: The Tempest. Reading: Barker, Francis and Peter Hulme. 1985. "Nymphs and reapers heavily vanish: the discursive con-texts of The Tempests." In Alternative Shakespeare. John Drakakis ed. London and New York: Methuen, 192-205
  7. Ben Jonson: Volpone. Reading: Knapp, Peggy. 1991. “Ben Jonson and the Public Riot”. In David Scott Kastan and Peter Stallybrass eds. Staging the Renaissance. New York and London: Routledge. Presentation drafts due
  8. Thomas Middleton. The Revenger’s Tragedy. Reading: Kiss Attila. 2010. “‘The very ragged bone. ‘ Abjection and the Art of Dying”. In Double Anatomy in Early Modern and Postmodern Drama. Szeged, Jate Press. Recommended: Peter Stallybrass. 1991. “Reading the Body and the Jacobean Theater of Consumption.” In David Scott Kastan and Peter Stallybrass eds. Staging the Renaissance. New York and London: Routledge

AND Discussion of the term papers in progress



a jegy/aláírás megszerzésének feltétele és módja

You should read the play and at least the first of the secondary readings for each class. Always bring a hard copy of your readings in class. Write a short reading journal on each play (min. 1 double spaced page), which may be but does not have to be based on pre-set questions helping you focus on the given play. The journals should reflect your own thoughts about the plays, and do not have to include references to secondary sources. The short reading journals are due by Tuesday noon, and should be sent on Coospace. Prepare for discussing secondary materials in a way that suits you (notes, outline, marginalia, summary, questions etc.).

Each student should write a term paper on a topic agreed upon by the instructor (8-10 double spaced pages plus apparatus, format observing the institute Style Sheet). The draft of the paper (including a tentative thesis statement, planned structure and bibliography) should be sent in an e-mail to the instructor by May 2nd. The projects in progress will be presented and discussed on the last week of the semester.


kötelező olvasmányok (ha vannak)


ajánlott olvasmányok (ha vannak)


Friss Hírek

Friss Hírek RSS

A Szegedi Tudományegyetem Hispanisztika Tanszékének katalán lektorátusa pályázatot hirdet egy Antoni Gaudí tiszteletére épített pad látványtervének elkészítésére.