Middleton, Thomas and Rowley, William

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    The state of the art - current critical research
    (Continuum, New York, 2011-04-14) Daalder, Joost
    '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
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    The role of Diaphanta in 'The Changeling'
    (Australasian Universities Language and Literature Association, 1991-11) Daalder, Joost
    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.
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    The changeling
    (A&C Black, London, 2005) Middleton, Thomas; Rowley, William; Daalder, Joost
    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.
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    Breaking the Rules: Editorial Problems in Dekker and Middleton's "The Honest Whore, Part I".
    (Bibliographical Society of Australia and New Zealand, 1996) Daalder, Joost; Telford Moore, Antony
    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.
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    '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) Daalder, Joost; Telford Moore, Antony
    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.
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    The Closet Drama in "The Changeling", V.iii
    (University of Chicago Press, 1991) Daalder, Joost
    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?"
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    The Role of Isabella in "The Changeling"
    (Routledge, part of the Taylor & Francis group, 1992) Daalder, Joost
    The role of Isabella in "The Changeling" has received remarkably little attention. Even those very few critics who have been sympathetic to the sub plot of the play have in fact said very little about it, and therefore about Isabella. If Daalder's general contention is accepted that the play is primarily a presentation of madness and that that point cannot be grasped without examining the sub plot, Isabella must inevitably come to be seen as more important.
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    Middleton and Rowley's "The Changeling"
    (Heldref Publications, 1998) Daalder, Joost; Telford Moore, Antony
    Daalder and Moore focus on Act IV, ii, 89-103, and in particular Jasperino's comment "Like those that challenge interest in a woman" (line 102). The authors explore the possibility that the 'woman' described in this line is Beatrice, not Diaphanta; various interpretations of the passage, in regards to the complex sexual relationships in the tragedy, hinge on confirming the identity of this 'woman'.
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    Folly and Madness in "The Changeling"
    (Oxford University Press, 1988) Daalder, Joost
    The Challenge of "The Changeling" is, to put it bluntly, to discover what it is `about', and if despite much recent activity critics have not been able to provide us with a satisfactory answer that is because they have failed to grasp how the sub-plot relates to the main plot. It has been understood in a vague and general way that the plots must somehow be related, and that the relationship is one of irony, but nevertheless the sub-plot continues to be seen as some sort of adjunct to the play — possibly not irrelevant, but not essential. Daalder believes that, on the contrary, we can only understand the main plot if we understand the sub-plot, and that the relationship is vital. "The Changeling" is above all a study, in dramatic form, of folly and madness. It is interested in making us aware of what is `abnormal' in the workings of the human mind. It is the sub-plot which sets up the most basic distinction between folly and madness, and develops the concept of madness which helps us to grasp its nature in the main plot.
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    'Take Heed There's Giants Keep Em': "The Changeling" III.iii.178 and its Context
    (Oxford University Press, 1998) Daalder, Joost; Telford Moore, Antony
    In Act III, scene iii of Middleton and Rowley's "The Changeling", Isabella, locked up in the asylum of her jealous husband, Alibius, and guarded by his 'man' Lollio, receives sexual attention first from Lollio, then Franciscus (disguised as a madman), and then Antonio (disguised as a fool). She rejects the advances of the first two would-be lovers, but in a minor way succumbs to Antonio's charms. It seems likely that one reason why she does find Antonio attractive is that she realizes that he is acting a part. In other words, given time and practice, Antonio may come to look like a fool, but at present his play-acting is not yet successful enough to take in those he is trying to deceive, including, it seems, the main target of his device, Isabella.
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    Perspectives of Madness in Twelfth Night
    (Routledge Press, a part of the Taylor and Francis group, 1997) Daalder, Joost
    Shakespeare uses such words as 'mad' and 'madness' more often in Twelfth Night than in any of his other plays, so it is a reasonable assumption that he was interested in madness when he wrote it, and that this play will give us an idea of what he means by it. Interestingly, he never gives us a definition of the word 'madness' per se. As in other plays, we are left to work out the definition for ourselves, and the dramatist rather behaves as though the meaning is readily understood by all members of the audience. What, in fact, did Shakespeare mean by the term?