Name: The Drama of Reform: Theology and Theatricality, 1461-1553 (en Latin)
SKU: 60285753
Price: 125880.00 CLP
Availability: InStock
Author: Atkin, Tamara
ISBN: 9782503546513

portada The Drama of Reform: Theology and Theatricality, 1461-1553 (en Latin)

The Drama of Reform: Theology and Theatricality, 1461-1553 (en Latin)

Formato

Libro Físico

Autor

Tamara Atkin

Editorial

Brepols Publishers

Idioma

Latin

N° páginas

208

Encuadernación

Tapa Dura

Dimensiones

23.6x16x1.8 cm

Peso

0.48 kg.

ISBN13

9782503546513

Categorías

Europa
Estilo medieval
Estudios literarios: antiguos, clásicos y medievales
Estudios literarios: obras de teatro y dramaturgos
Historia de europa: edad media

The Drama of Reform: Theology and Theatricality, 1461-1553 (en Latin)

Tamara Atkin (Autor) · Brepols Publishers · Tapa Dura

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Reseña del libro "The Drama of Reform: Theology and Theatricality, 1461-1553 (en Latin)"

The Drama of Reform establishes the impact of late medieval and early modern religious reform on dramaturgy. Taking an interdisciplinary approach, it examines the interactions between theatricality and theology across a range of different plays including the Croxton Play of the Sacrament, Jacke Jugeler, John Bale's Three Laws, and Lewis Wager's Life and Repentaunce of Mary Magdalene. Tracing the development of arguments concerning the interpretation of the sacraments, the relationship between priests and players, and the use and abuse of imagery and drama in religious worship, The Drama of Reform draws on a rich variety of contextual materials including liturgical texts, heresy trial accounts, dramatic treatises, polemical tracts, and religious laws. Focussed on the period between Archbishop Arundel's Constitutions in the fifteenth century and Archbishop Cranmer's second Book of Common Prayer in the sixteenth, The Drama of Reform explores the phenomenological similarities between drama and certain religious rites, notably the eucharist, and proposes that religious reform prompted attempts to reform dramaturgy. In presenting this analysis, the author argues that while drama continued to function as dramatic propaganda, efforts to initiate new modes of playing were only partially successful.