Words as Swords: Verbal Violence as a Construction of Authority in Renaissance and Contemporary English Drama

Words as Swords: Verbal Violence as a Construction of Authority in Renaissance and Contemporary English Drama
Author: Senlen Sila
Publisher: ibidem-Verlag / ibidem Press
Total Pages: 196
Release: 2012-07-24
Genre: Language Arts & Disciplines
ISBN: 3838259823

Verbal violence, as a sophisticated means of persuasion and manipulation, is as effective on the stage as physical violence. Since the destructive effects of verbal violence are less recognized and long-term, it is a vital instrument for constructing power and authority. Sıla Şenlen tackles this subject in Renaissance and contemporary English drama. In Renaissance tragedies composed in blank-verse such as Marlowe’s Tamburlaine, Part I, and Shakespeare’s Richard III, political power is identified and matched with a powerful rhetorical style. Almost all of the battles in such plays are fought verbally rather than physically on the stage. In these verbal duels or battles, competent speakers such as Tamburlaine and Richard III exploit the frontiers of deception, manipulate, abuse and destroy their opponents with low verbal competence through verbal violence. Thus, a parallel is drawn between rhetorical skills and military power, and between ‘word’ and ‘sword’. In contemporary English plays, the violence of daily language not only contributes to the creation of a realistic spectacle, but also –and more importantly– to the process of replacing free critical thinking by automatically preconceived patterns of thought and speech. Institutions and related discourses function to set up norms or standards against which people are defined, categorized, judged and punished. In Bernard Shaw’s Pygmalion, Harold Pinter’s The Birthday Party and Anthony Neilson’s The Censor, verbal violence in the form of daily language is not only deployed to construct authority, dominate and ‘standardize’ subjects, but also to deconstruct and defy authority.

The Medieval Theater of Cruelty

The Medieval Theater of Cruelty
Author: Jody Enders
Publisher: Cornell University Press
Total Pages: 296
Release: 1999
Genre: History
ISBN: 9780801433344

Theories of rhetoric and law of the time reveal, she points out, that the ideology of torture was a widely accepted means for exploiting such essential elements of the stage and stagecraft as dramatic verisimilitude, pity, fear, and catharsis to fabricate truth.

Illegitimate Power

Illegitimate Power
Author: Alison Findlay
Publisher: Manchester University Press
Total Pages: 296
Release: 1994
Genre: Authority in literature
ISBN: 9780719039911

In Renaissance drama, the bastard is an extraordinarily powerful and disruptive figure. We have only to think of Caliban or of Edmund to realise the challenge presented by the illegitimate child. Drawing on a wide range of play texts, Alison Findlay shows how illegitimacy encoded and threatened to deconstruct some of the basic tenets of patriarchal rule. She considers bastards as indicators and instigators of crisis in early modern England, reading them in relation to witchcraft, spiritual insecurities and social unrest in family and State. The characters discussed range from demi-devils, unnatural villains and clowns to outstandingly heroic or virtuous types who challenge officially sanctioned ideas of illegitimacy. The final chapter of the book considers bastards in performance; their relationship with theatre spaces and audiences. Illegitimate voices, Findlay argues, can bring about the death of the author/father and open the text as a piece of theatre, challenging accepted notions of authority.

Utopia

Utopia
Author: Thomas More
Publisher: e-artnow
Total Pages: 105
Release: 2019-04-08
Genre: Political Science
ISBN: 8027303583

Utopia is a work of fiction and socio-political satire by Thomas More published in 1516 in Latin. The book is a frame narrative primarily depicting a fictional island society and its religious, social and political customs. Many aspects of More's description of Utopia are reminiscent of life in monasteries.

Violence in Contemporary British Drama - Sarah Kane's Play "Cleansed"

Violence in Contemporary British Drama - Sarah Kane's Play
Author: Lea Jasmin Gutscher
Publisher: GRIN Verlag
Total Pages: 118
Release: 2008-12
Genre: Language Arts & Disciplines
ISBN: 3640222725

Thesis (M.A.) from the year 2007 in the subject English Language and Literature Studies - Literature, grade: 1,3, Free University of Berlin (Fachbereich Philosophie und Geisteswissenschaften Institut f r Englische Philologie), course: Abschlussarbeit Englische Literaturwissenschaft, 78 entries in the bibliography, language: English, abstract: When Sarah Kane, born in 1971 in Essex, England, committed suicide at the age of 28 in February 1999, she left five plays and the script for a ten minute screenplay. Kane had dedicated much of her short life to the understanding, exploration and (re)invention of drama. While still at school she started writing and acting, activities which she continued at university, where she further experimented with theatre and where she also took up directing. After leaving the University of Bristol with a First Class Honours Degree in drama studies, she enrolled at Birmingham University and crowned her education with a Master's degree in playwriting. After several minor dramatic experiments, staged as student productions in unofficial venues, her first full-length play, Blasted, premi red at the Royal Court Theatre in London in January 1995. The play immediately became notorious for its depiction of all kinds of physical and verbal violence for which it was fiercely attacked by both public opinion and reviewers. The fact that the plays which followed contained many unspeakable scenes of sheer cruelty, earned her the reputation as the enfant terrible of contemporary British drama. During her brief career Sarah Kane created a body of work that brought her both success and notoriety. Her controversial theatre divided critics and audiences from the beginning. While some attacked her persistently, others recognised her as a new voice, and after she explored and discovered different linguistic and theatrical devices, critical approval followed.

The Invention of Suspicion

The Invention of Suspicion
Author: Lorna Hutson
Publisher: Oxford University Press
Total Pages: 393
Release: 2007-12-13
Genre: Literary Criticism
ISBN: 0199212430

Lorna Hutson argues that changes in the English justice system in the sixteenth century towards greater participation (by JPs and jurors) had a decisive impact on English Renaissance drama. Her nuanced and closely researched book sheds new light on much of what we take for granted about character and plot in Shakespearean drama.

Theater of the Word

Theater of the Word
Author: Julie Paulson
Publisher:
Total Pages: 240
Release: 2019
Genre: Literary Criticism
ISBN: 9780268104610

"Paulson highlights a paradox of scholarship on medieval concepts of the self: The concept of an 'interior' self that is to some extent hidden from an 'external' world is uniquely modern, and hence alien to the medieval period; nevertheless, studies of the medieval idea of the self still privilege this modern binary in the language they use. What is needed, Paulson argues, is a new way of speaking about the medieval self that does not privilege anachronistic terms and concepts. To provide this, Paulson turns to the medieval morality plays--performances which depict selves being created through performative acts--to construct a more appropriate form of discourse"--

The Tears of Sovereignty

The Tears of Sovereignty
Author: Philip Lorenz
Publisher:
Total Pages: 392
Release: 2022
Genre: LITERARY CRITICISM
ISBN: 9780823293230

A comparative study of the representation of sovereignty in paradigmatic plays of early modernity, The Tears of Sovereignty argues that the great playwrights of the period--William Shakespeare, Lope de Vega, and Calderón de la Barca--reconstitute the metaphors through which contemporary theorists continue to conceive the problems of sovereignty. The book focuses in particular on the ways the logics of these metaphors inform sovereignty's conceptualization as a "body of power." Each chapter is organized around a key tropological operation performed on that "body," from the analogical relations invoked in Richard II, through the metaphorical transfers staged in Measure for Measure to the autoimmune resistances they produce in Lope's Fuenteovejuna, and, finally, the allegorical returns of Calderón's Life Is a Dream and Shakespeare's The Winter's Tale. The "tears" of sovereignty are the exegetical tropes produced and performed on the English stages and Spanish corrales of the seventeenth century through which we continue to view sovereignty today.