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"Jonson, Ben (1573-1637)"
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El galán casado, o el curioso impertinente
England proved especially fertile ground, with the narrative inspiring multiple stage versions and helping to shape the early reception of Don Quijote. In stark contrast, Figueroa Dorrego sees Lovely as neither refined nor representative of any emerging ideology of masculinity but as a cruel character whose obsession, though distinctly motivated, mirrors Anselmo's in its tragic potential. Together, both plotlines weave a portrait of Restoration society that blends social satire with a moralizing impulse, holding folly and vice up to ridicule while also affirming the value of personal reform. Altogether, these translational and editorial decisions result in a rendering that balances clarity with a sense of the original's period character.
Journal Article
The remaking of Shakespeare
Othello has become an anti-apartheid statement (Smith refers to a 1987 performance of Othello in Johannesburg, which was treated as seditious by the South African police); Baz Luhrmann's 1996 film turned Romeo and Juliet into an exuberant postmodern ride; and in the mid-20th century, in the shadow of the world wars, critics and productions found Beckettian absurdity in King Lear's bleakness. Shakespeare's characters were dictated by the actors available in his company (the Lord Chamberlain's Men), and only men were permitted on the early modern stage: “somewhere around 1606”, Smith surmises, “a new actor of female roles seems to have joined the company—an actor who…was convincing in embodying powerfully mature women”. By focusing on the work, Smith creates a clear sense of Shakespeare as a dramatist, negotiating material contingencies like state censorship or the technical limitations of the Elizabethan stage.
Journal Article
Ben Jonson's walk to Scotland : an annotated edition of the 'foot voyage'
\"At the heart of this book is a previously unpublished account of Ben Jonson's celebrated walk from London to Edinburgh in the summer of 1618. This unique firsthand narrative provides us with an insight into where Jonson went, whom he met, and what he did on the way. James Loxley, Anna Groundwater and Julie Sanders present a clear, readable and fully annotated edition of the text. An introduction and a series of contextual essays shed further light on topics including the evidence of provenance and authorship, Jonson's contacts throughout Britain, his celebrity status, and the relationships between his 'foot voyage' and other famous journeys of the time. The essays also illuminate wider issues such as early modern travel and political and cultural relations between England and Scotland. It is an invaluable volume for scholars and upper-level students of Ben Jonson studies, early modern literature, seventeenth-century social history, and cultural geography\"-- Provided by publisher.
Book
L'Appétit Sauvage: The Blissful Utopia of Desire and Excess in Ben Jonson's Bartholomew Fair
In Ben Jonson’s Bartholomew Fair we find a realm of apparent freedom and levity, wherein the characters feel indulged to express themselves with far greater poignancy than it would happen in the regular world of law and order. The suspension of societal authority and structure brought about by this most voluptuous carnival leads to a dynamic flow of desire and want that normally would be restrained by good sense and justice, but as we find plainly in the play Justice is like a fish out of water amidst the ebullient effervescence of the appetites which define the Fair. Free to pursue their most sincere needs, pending toward extravagance as all desire which is taken to excess is wont to do, the characters quickly find themselves at home in this most savage of places, where there is nourishment to sate all palates, even the most depraved ones. But as even scoundrels dream of a better world, it may just be that Bartholomew Fair is that very world; where knaves and fools dance interminably in a merry-go-round, and where the impetus of Nature is uninhibited by unsophisticated reason. Does the utopian impulse, which I argue can be found within the play, come with this awareness of a need to binge and purge in a place which is accommodating to all kinds, and if so how does the appetite of the characters determine their utopian identity in accordance with the principle of nature found in need? To explore the nature of the Fair and the appetite which defines it, I will discuss primarily George Bataille’s principle of general economy and sovereignty announced in The Accursed Share and Jacques Derrida’s understanding of sovereignty in “From Restricted to General Economy: A Hegelianism Without Reserve”. It can certainly be that the extraordinary impulse of consumption and excess which appears in the play can be discussed within the bounds of Utopian imagination, gifting disorder with the laurels it much deserves, earned by the eager provision of essential perspective on an otherwise flat reality, restriction being far too often the key to a Dystopia.
Journal Article