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17 results

Shakespeare and Early Modern Religion
  • Edited by David Loewenstein, Michael Witmore
  • Published online:
    05 January 2015
    Print publication:
    22 January 2015
  • Written by an international team of literary scholars and historians, this collaborative volume illuminates the diversity of early modern religious beliefs and practices in Shakespeare's England, and considers how religious culture is imaginatively reanimated in Shakespeare's plays. Fourteen new essays explore the creative ways Shakespeare engaged with the multifaceted dimensions of Protestantism, Catholicism, non-Christian religions including Judaism and Islam, and secular perspectives, considering plays such as Hamlet, Julius Caesar, King John, King Lear, Macbeth, Measure for Measure, A Midsummer Night's Dream and The Winter's Tale. The collection is of great interest to readers of Shakespeare studies, early modern literature, religious studies, and early modern history.

  • 9 - ‘Remember Me’

  • from Part Three - Matter, Mind, Psyche
  • Edited by Subha Mukherji
  • Book:
    Thinking on Thresholds
    Published by:
    Anthem Press
    Published online:
    05 March 2012
    Print publication:
    15 February 2011, pp 131-140

  • Summary

    Captain: [To crew] Pull the power back. That's right. Pull the left one [throttle] back.

    Copilot: Pull the left one back.

    Approach: At the end of the runway it's just wide-open field.

    Cockpit Unidentified Voice: Left throttle, left, left, left, left…

    Cockpit Unidentified Voice: God!

    Cabin: [Sound of impact]

    – Cockpit Voice Recording, United Flight 232, 19 July 1989

    Modern aviation has given us the purgatorial technology of the CVR or cockpit voice recording, the so called ‘black box’ that captures instrument information and audio from the cockpit in the last moments of a disaster. In the case of United Flight 232, whose final moments in flight are recorded above, the pilots managed to land their plane in Sioux City Iowa after three hydraulic systems failed simultaneously at 33,000 feet. Just after the first impact is heard – the left wing of the DC-10 clipped the landing strip before the tail end of the aircraft tore away from the cabin – flight 232 flipped upside down and crashed in a corn field near the airstrip. All three pilots survived, but in the end, 110 people were killed in the incident.

    The mere existence of such recordings is unnerving. On some of them, pilots call out people's names before the audio cuts off, knowing their voices will be played to loved ones after they are dead. The men and women whose voices are captured on these tapes are mindful of the fact that, even as calamity unspools, whatever they say will survive them.

  • 9 - Shakespeare by the Numbers: On the Linguistic Texture of the Late Plays

  • Edited by Subha Mukherji, Raphael Lyne
  • Book:
    Early Modern Tragicomedy
    Published by:
    Boydell & Brewer
    Published online:
    12 September 2012
    Print publication:
    15 November 2007, pp 133-153

  • Summary

    If I could write the beauty of your eyes And in fresh numbers number all your graces, The age to come would say ‘This poet lies: Such heavenly touches ne'er touch'd earthly faces’ … Sonnet 17

    Return, forgetful Muse, and straight redeem In gentle numbers time so idly spent … Sonnet 50

    SINCE THE late nineteenth century, critics have tried to group some or all of the plays Shakespeare wrote late in his career – Coriolanus, Cymbeline, The Winter's Tale, The Tempest, Pericles (co-authored with George Wilkins), Henry VIII and The Two Noble Kinsmen (both co-authored with John Fletcher) – into a single critical category, usually on the basis of thematic, dramaturgical, or linguistic similarities among members of the group. While there is no consensus on which category is most appropriate for such a grouping (designations such as ‘late plays’, ‘romances’, and ‘tragicomedies’ have been proposed), there is nevertheless a persistent feeling among Shakespeare's readers that something distinguishes several of these plays from the others and that this ‘something’ ought to be the object of critical analysis. At times the perception of such a similarity has been so strong that it has led to categorical declarations of the sort made by Gerard Eades Bentley in the mid twentieth century, who asserted that ‘no competent critic who has read carefully through the Shakespeare canon has failed to notice that there is something different [about these plays]’.