Theta VIII - septembre 2009

Sommaire/Contents

Donald Beecher
Suspense is Believing: The Reality of Ben Jonson’s The Alchemist

Marie-Hélène Besnault
Belief and Spectacle at Early Performances of Doctor Faustus

Pauline Blanc
Seeing-is-believing Vision and the Power of Verbal Framing in the Tudor Theatre

Jean-Paul Débax
Four Poets as Presenters and Interpreters in Late Tudor Drama

Bob Godfrey
Limits of Illusion in the Theatres of John Rastell

Michael Hattaway
Over their Heads: Iago, Vices, and ‘Denotement’

Peter Happé
Deceptions: ’The Vice’ of the Interludes and Iago

Richard Hillman
Speaking of Miracles: Seeing, Believing — and Hearing

André Lascombes
Elements of a Persuasion Strategy in the English Cycles and Early Moral Plays

Catherine Lisak
Dramatic Assumption and the Fracture of Certainty in Shakespeare and Samuel Rowley’s When You See Me You Know Me (1605)

John J. McGavin
Medieval theatricality and spectatorship

Roberta Mullini
Playing the Monster: Changing Conventions in the Wit Plays

Yvonne Phoenix
“ … and that before mine eyes” (Cambises): The Furious Passion for Images, and Their Reception during the Tudor Period

Armelle Sabatier
“No longer shall you gaze on’t, lest your fancy / May think anon it moves”: Seeing and Believing in the Moving Statue in The Winter’s Tale

Greg Walker
Acting (and Feeling) Responsible: Lindsay’s Pauper and the Problems of Perception

Grant Williams
Being Seen is Believing: Spectacle, Ethics, and the Others of Belief in Elizabethan Revenge Tragedy

Les auteurs/Contributors

Consacrée à la publication d’études sur le théâtre de la Renaissance européenne – et d’abord anglaise – ainsi que sur la culture qui le nourrit, la collection « THETA » se veut lieu de rencontre et de débat, accueillant sans exclusive toutes les approches.

Primarily meant to host studies about the drama of the English – and European – Renaissance, as well as the culture in which it is rooted, the « THETA » series aims to be a forum of exchange and debate.