Middleton, Thomas and Rowley, William
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ItemThe state of the art - current critical research(Continuum, New York, 2011-04-14)'The State of the Art - current critical research' appears as Chapter 3 in 'Women beware women: a critical guide', edited by Andrew Hiscock. Review from the website states: "This comprehensive collection of essays, beginning with Andrew Hiscock's historical account of Women Beware Women, combines fresh research, provocative new interpretations and a useful account of performances of one of Middleton's most powerful plays. Such established scholars as Helen Wilcox, Robert C. Evans and Coppelia Kahn join new voices for pioneering work on a major English playwright.” – Arthur F. Kinney, Thomas W. Copeland Professor of Literary History and Director of the Center for Renaissance Studies, University of Massachusetts, Amherst, USA, - See more at: http://www.bloomsbury.com/us/women-beware-women-9781847060938/#sthash.91LEPtzJ.dpuf
ItemThe role of Diaphanta in 'The Changeling'(Australasian Universities Language and Literature Association, 1991-11)The chief function of Diaphanta in the play is to act as an example of a woman who becomes aware of the attractions of lust (in contrast to Beatrice), but is overwhelmed by it (in contrast to Isabella). There is thus a well-defined, separate role for each woman in the play, and together they offer a comprehensive picture of female psychology and conduct as the authors choose to present it on this occasion.
ItemThe changeling(A&C Black, London, 2005)The Changeling, a play written by Thomas Middleton and William Rowley in 1622, offers a picture of the operation of folly and madness within the mind. In doing so it explores 'abnormal' mental states. While the focus is on what happens within the individual, the impact on others is not ignored. Madness is of greater concern than folly, and is presented particularly in association with sex.
ItemBreaking the Rules: Editorial Problems in Dekker and Middleton's "The Honest Whore, Part I".(Bibliographical Society of Australia and New Zealand, 1996)The immediate aim of this article is three-fold: to give a reappraisal of some of the most important evidence relating to the textual history of "The Honest Whore, Part I" (STC 6501, 6501a, 6502); to present new evidence concerning the text of this play; and to assess the relative authority of the play's two principal early editions. Our ultimate aim, though, is editorial rather than purely bibliographical. The most authoritative edition of "1 Honest Whore" now available, that contained in Fredson Bowers' old-spelling edition of "The Dramatic Works of Thomas Dekker", is (as we intend to demonstrate) significantly flawed, and it is hoped that the findings presented here will provide a foundation for future editorial efforts to realise a more accurate and authentic text of this underrated play. It should also be made clear that this article is, in a sense, a prolegomenon to the forthcoming Revels Plays edition of "The Honest Whore, Parts I and II", which will be edited by Joost Daalder alone. In other words, this article presents bibliographical material which is too detailed and discursive to be included in the Revels volume, but which is nevertheless essential to a consideration of the textual strategies employed in that edition. At the same time, we hope bibliographers and textual critics will find the article to be of interest in its own right.
Item'There's scarce a thing but is both loved and loathed': "The Changeling" I.i.91-129(Routledge, part of the Taylor & Francis group, 1999)One of the most striking occurrences in the early scenes of Middleton and Rowley's "The Changeling" is Beatrice's extraordinarily vehement reaction to her father's servant, De Flores. The predominant point of Beatrice's speech appears to be that she wants to make it abundantly plain to De Flores that his presence is not welcome to her. In this article, the authors explore just why he is so unwelcome. For instance, consciously, Alsemero displays sexual love towards Beatrice while unconsciously he is afraid of her, or at least of her sexual impact. With Beatrice's feelings for De Flores matters are the other way round. Again, sex is `both loved and loathed'. She loathes De Flores at a conscious level, as her speeches in this scene have made very plain. But unconsciously she desires him.
ItemThe Closet Drama in "The Changeling", V.iii(University of Chicago Press, 1991)In act 5, scene 3 of Middleton and Rowley's "The Changeling", Alsemero, once fully convinced that Beatrice has been involved in murder and adultery, decides to lock her up in his 'closet', his small private room, which on the stage was no doubt situated within what is now often called the 'discovery space' - formerly known as the 'inner stage'. Alsemero instructs De Flores to join her shortly afterward. This essay will address the vexed question, "What happens in that closet, until Beatrice and De Flores appear on stage again?"