Wednesday, 26 September 2012

Julius Caesar at the Lowry

Power, identity, violence, disorder, anxiety: everything you heard in yesterday's lecture captured in one play. William Shakespeare's Julius Caesar is the perfect example of how drama interrogates power.
The production comes to the Lowry for just a few days next week (2nd-6th October), tickets are still available, some as cheap as £5, hurry!

http://www.rsc.org.uk/whats-on/julius-caesar/

Paterson Joseph and Theo Ogundipe in Julius Caesar. Photo by Kwame Lestrade

Monday, 24 September 2012

Mary Stuart on Radio 3

We will be talking about politics and monarchy in week 5, but here's a fantastic chance to prepare in advance with little effort!
 
Schiller's play Mary Stuart available on BBC Radio 3 for six more days
 
'One of European theatre's major plays, Friedrich Schiller's Mary Stuart is a thrilling account of the extraordinary relationship between England's Elizabeth I and her rival cousin, the imprisoned Queen of Scots. '
 
A perfect evening of Power and Gender, enjoy!

Sunday, 23 September 2012

More and Religion

- Here is an extract from Sir Thomas More's biography, written by his son-in-law, William Roper, and published in 1626 under the title The mirrour of vertue in worldly greatnes, Or The life of Syr Thomas More Knight, sometime Lo. Chancellour of England (available on EEBO).

'This Lord Chancellour (Sir Thomas More), although he was well knowne, both to God and the world to be a man of most eminent Vertue, though not so considered of every man; yet for the avoyding of singularity would he appeare to the eye of the world no otherwise then other men, as well in his apparell, as behaviour. And albeit he appeared outwardly Honourable, like to one of his Dignity & Calling, yet inwardly did he esteme all such thing for meere vanity: for next to his naked body he wore almost continually a shirt of hayre; the young Gentlewoman, named M. rs More, by chance one day spying as he sat in his doublet & hose at dynner in the sommer tyme, and seemed to smile therat, his daughter Roper perceiving the same (being not ignorant of this his austerity) gave him private notice thereof, and he did presently amend the fault, seeming withall sorry, that she had seene it. He also wore another playne course shirt without ruffe or collar, vpon his shirt of hayre; And many tymes he likewise punished his body with whips, made of knotted cordes; the which thing was only knowne to his daughter Roper, who for her secresy, aboue all the rest he especially trusted, for that as need required she did alwayes wash & mend his shirt of hayre, which he would not discover vnto any other whatsoever.' (pp. 78-9)

Self-flagellation and hair shirts: How does this complicate your view of More as a humanist scholar?

An engraving of self-flagellation  




- Read again Chapter 9 of Book 2 of Utopia in your anthology, esp. pp. 60-1, and the extract below from Roper’s text (you might also want to read the ODNB entry on Thomas More).  Think of Utopia’s celebration of religious tolerance and its contradiction by More’s later life: does Utopia truly advocate toleration or are there hints in the text that betray More’s personal views?

'It happened, before the matter of Mariage brought in Question, that M. Roper being one day in discourse with Syr Tho. More, did with a kind of joy, congratulate with his said Father, for the happy Estate of the Realme that had so Catholique a Prince, as no Heretique durst shew his face, so vertuous and learned a Clergy, so graue and sound a Nobility, and so loving and obedient Subiects, all on one fayth agreeing togeather. Troth, it is so indeed, Sonne Roper (quoth he:) and then commended all degrees and estates of the same, far beyond M. Roper. And yet Sonne Roper (quoth he) I pray God, that some of vs (as high as we seeme to sit vpon the Mountaynes, treading Heretiques vnder our feete like Ants) live not to see the day, when we gladly would wish to be in league and composition with those whome you call Heretiques, & to let them haue their Church quietly to themselues, vpon condition, that they would be content to let vs haue ours, quiet to our selues.' (pp. 55-6)
 

Perspective in Utopia


Hans Holbein the Younger, 'The Ambassadors' (1533)



New Historicist critic Stephen Greenblatt has suggested that Utopia's ‘subtle displacements, distortions, and shifts of perspective are the close equivalent in Renaissance prose to the anamorphic virtuosity of Holbein’s art. Like “The Ambassadors”, Utopia presents two distinct worlds that occupy the same textual space while insisting upon the impossibility of their doing so. '  (Renaissance Self-Fashioning: From More to Shakespeare, 1980, p.22)

The skull in Holbein's painting requires the spectator to stand at a specific position to the painting. What positions/perspectives does More's text allow to the reader? If Utopia was a Holbein painting, what image do you think would take the place of the skull? 

Welcome!

Welcome to the Power and Gender blog!

This blog is designed as an additional resource to the course and it aims to enhance your knowledge and understanding of the early modern period. By bringing to your attention images/ ideas/ texts not discussed in class due to time restrictions, the blog will hopefully encourage you to think of set texts in a wider cultural context and it will inspire you to consult a variety of primary and secondary sources for your independent research.


I want this to be a creative space outside the seminars, so feel free to post your own contributions in the comments or to email me at panagiota.tsentourou@manchester.ac.uk anything early modern (an engraving, a pamphlet, a biographical clue, a title page, etc) or regarding the early modern (an exhibition, an article, a play, etc) you might find interesting, bizarre, hilarious, shocking!


Looking forward to meeting you all next week!