Prologue : “In my end is my beginning”: time’s up for The Duchess of Malfi
When Paul Hammond discusses the function of “an Italy of the mind” in Shakespeare’s comedies, he defines it as a “space in which unusual happenings were possible” that is not “constrained by the kinds of plausibility demanded in London city comedy”. Similarly, John Webster’s The Duchess of Malfi te...
Spremljeno u:
| Izdano u: | URI:https://journals.openedition.org/asf, |
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| Glavni autor: | |
| Format: | Article ou chapitre numérique |
| Jezik: | Anglais |
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Arrêt sur scène / Scene Focus
2023
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| Online pristup: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Sažetak: | When Paul Hammond discusses the function of “an Italy of the mind” in Shakespeare’s comedies, he defines it as a “space in which unusual happenings were possible” that is not “constrained by the kinds of plausibility demanded in London city comedy”. Similarly, John Webster’s The Duchess of Malfi testifies to the fashion of an Elizabethan Italy-of-the-mind as a safe mirror to the English court. The perception of Italian city states as places of corruption and blood revenge is at the same time... |
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