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Joost van den Vondel (1587-1679)

Dutch Playwright in the Golden Age

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Edited by Jan Bloemendal and Frans-Willem Korsten

Joost van den Vondel (1587-1679) was the most prolific poet and playwright of his age. During his long life, roughly coinciding with the Dutch Golden Age, he wrote over thirty tragedies. He was a famous figure in political and artistic circles of Amsterdam, a contemporary and acquaintance of Grotius and Rembrandt, and in general well acquainted with Latin humanists, Dutch scholars, authors and Amsterdam burgomasters. He fuelled literary, religious and political debates. His tragedy 'Gysbreght van Aemstel', which was played on the occasion of the opening of the stone city theatre in 1638, was to become the most famous play in Dutch history, and can probably boast holding the record for the longest tradition of annual performance in Europe. In general, Vondel’s texts are literary works in the full sense of the word, complex and inexhaustive; attracting attention throughout the centuries.

Contributors include: Eddy Grootes, Riet Schenkeveld-van der Dussen, Mieke B. Smits-Veldt, Marijke Spies, Judith Pollmann, Bettina Noak, Louis Peter Grijp, Guillaume van Gemert, Jürgen Pieters, Nina Geerdink, Madeleine Kasten, Marco Prandoni, Peter Eversmann, Mieke Bal, Maaike Bleeker, Bennett Carpenter, James A. Parente, Jr., Stefan van der Lecq, Jan Frans van Dijkhuizen, Helmer Helmers, Kristine Steenbergh, Yasco Horsman, Jeanne Gaakeer, and Wiep van Bunge.


John Garrison and Kyle Pivetti

One of the more intriguing contemporary adaptations of the play is The Donkey Show: A Midsummer Night’s Disco. The adaptation was conceived in 1999 by husband and wife creative team Diane Paulus and Randy Weiner, first opening for only a six-week limited engagement at an actual dance venue, Club El

Timothy A. Turner

inclined to interpret the scene in light of Marlowe’s adaptation of the military handbooks he consulted. 2 Likewise, in his brief discussion of Calyphas, Robert A. Logan describes the character as “articulate and self-aware” and suggests that he “ chooses not to fulfill the manly gender role that his

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Edited by Enrique Fernandez

In A Companion to Celestina, Enrique Fernandez brings together twenty-three hitherto unpublished contributions on the Tragicomedia de Calisto y Melibea, popularly known as Celestina (c. 1499) written by leading experts who summarize, evaluate and expand on previous studies. The resulting chapters offer the non-specialist an overview of Celestina studies. Those who already know the field will find state of the art studies filled with new insights that elaborate on or depart from the well-established currents of criticism. Celestina's creation and sources, the parody of religious and erudite traditions, the treatment of magic, prostitution, the celestinesca and picaresque genre, the translations into other languages as well as the adaptations into the visual arts (engravings, paintings, films) are some of the topics included in this companion.

Contributors are: Beatriz de Alba-Koch, Raúl Álvarez Moreno, Consolación Baranda, Ted L. Bergman, Patrizia Botta, José Luis Canet, Fernando Cantalapiedra, Ricardo Castells, Ivy Corfis, Manuel da Costa Fontes, Enrique Fernandez, José Luis Gastañaga Ponce de León, Ryan D. Giles, Yolanda Iglesias, Gustavo Illades Aguiar, Kathleen V. Kish, Bienvenido Morros Mestres, Devid Paolini, Antonio Pérez Romero, Amaranta Saguar García, Connie Scarborough, Joseph T. Snow, and Enriqueta Zafra.

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Niall Oddy

the invention of new terms ( capitalism ); in the adaptation and alteration (indeed at times reversal) of older terms ( society or individual ); in extension ( interest ) or transfer ( exploitation ). But also, as these examples should remind us, such changes are not always either simple or final

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Katharina N. Piechocki

our kingdoms and territories by those journeying in the said ocean sea.’ In Davenport F.G. (ed.), European Treaties bearing on the History of the United States and its Dependencies to 1648 (Washington, DC: 1917) 103–105. Slight adaptation of the English translation. 26 See Sandman A., “Spanish

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Enrico Zucchi

being the symbol of an authentic overturning seemed to be translations and adaptations of some of the most important Dutch periodicals of the time: the Bibliothèque universelle et historique (1686–1693) directed by the Genevan theologian Jean Le Clerc (1657–1736), and mostly the ambitious Histoire

John Banks’s Female Tragic Heroes

Reimagining Tudor Queens in Restoration She-Tragedy

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Paula de Pando

In John Banks’s Female Tragic Heroes, Paula de Pando offers the first monograph on Restoration playwright John Banks. De Pando analyses Banks’s civic model of she-tragedy in terms of its successful adaptation of early modern literary traditions and its engagement with contemporary political and cultural debates. Using Tudor queens as tragic heroes and specifically addressing female audiences, patrons and critics, Banks made women rather than men the subject of tragedy, revolutionising drama and influencing depictions of gender, politics, and history in the long eighteenth century.

Translations of the Sublime

The Early Modern Reception and Dissemination of Longinus' Peri Hupsous in Rhetoric, the Visual Arts, Architecture and the Theatre

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Edited by Caroline A. van Eck

Contrary to widely held assumptions, the early modern revival of ps-Longinus' On the Sublime did not begin with the adaptation published by Boileau in 1674; it was not connected solely with the Greek editions that began to appear from 1554; nor was its impact limited to rhetoric and literature. Manuscript copies began to circulate in Quattrocento Italy, but very few have been studied. Neither have the ways the sublime was used, in rhetoric and literature, but also in the arts, architecture and the theatre been studied in any systematic way. The present volume is a first attempt to chart the early modern translations of Peri hupsous, both in the literal sense of the history of its dissemination by means of editions, versions and translations in Latin and vernacular languages, but also in the figurative sense of its uses and transformations in the visual arts in the period from the first early modern editions of Longinus until its popularization by Boileau.

Contributors include Francis Goyet, Hana Gründler, Lydia Hamlett, Sigrid de Jong, Helen Langdon, Bram Van Oostveldt, Eugenio Refini, Paul Smith, and Dietmar Till.


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Edited by Matteo Soranzo

edition and the other witnesses as authorial variants, which I have recorded in the apparatus criticus . This is meant to allow readers to follow the evolution of the text, as well Augurello’s adaptation of his poem to new contexts of publication. MS P. D. 414 b of the Biblioteca del Museo Correr in