Routledge History, Religion, and Violence: Cultural Contexts for Medieval and Renaissance English Drama (Variorum Collected Studies)

Professor Davidson is concerned here to chart public theatrical display as a barometer of developments in the English Middle Ages and Renaissance. This book brings together twelve previously published articles on historical and religious aspects of the early English theatre as well as an original essay on Marlowe’s Doctor Faustus and the Papacy. Other essays on Renaissance drama focus on Shakespeare against the background of the political and religious crosscurrents of the time. The treatment of medieval drama is dealt with under two headings, the first of which treats sacred violence in the mysteries. The second presents investigations of the cultural contexts for early English drama, from analysis of the claim that the mystery plays were informed by the spirit of Carnival to the signs of Doomsday in the pageant wagons on the streets of Coventry and Chester and in analogous representations in the visual arts. Review '... presents a very scholarly and relevant view of violence in some of the late-medieval and early Renaissance drama. Davidson's knowledge of the literarure of the period provides an array of textual evidence, and his keen knowledge and use of visual art and iconography broadens the scope of his discussion. History, Religion, and Violence should prove an invaluable reference for students and enthusiasts of early English drama.' Medium Aevum Synopsis Professor Davidson is concerned here with charting public theatrical display as a barometer of developments in the English Middle Ages and Renaissance. The book brings together 12 previously published articles on historical and religious aspects of the early English theatre as well as an original essay on Marlowe's "Doctor Faustus and the Papacy". Other essays on Renaissance drama focus on Shakespeare against the background of the political and religious crosscurrents of the time. The treatment of medieval drama is dealt with under two headings, the first of which treats sacred violence in the mysteries. The second presents investigations of the cultural contexts for early English drama, from analysis of the claim that the mystery plays were informed by the spirit of Carnival to the signs of Doomsday in the pageant wagons on the streets of Coventry and Chester and in analogous representations in the visual arts. About the Author Clifford Davidson, Western Michigan University, USA