Here Lies: Sincerity and Insincerity in Early Modern Epitaphs Onstage
In early modern England, theatrical performance was charged with undermining sincerity, while epitaphic writing was praised as upholding it. Given that epitaphs and plays were perceived to occupy contrasting positions with respect to the contemporary discourse surrounding sincerity, it is striking h...
| Auteur principal: | |
|---|---|
| Type de support: | Électronique Article |
| Langue: | Anglais |
| Vérifier la disponibilité: | HBZ Gateway |
| Journals Online & Print: | En cours de chargement...
|
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Publié: |
Johns Hopkins University Press
[2017]
|
| Dans: |
Christianity & literature
Année: 2017, Volume: 67, Numéro: 1, Pages: 50-68 |
| RelBib Classification: | CD Christianisme et culture TJ Époque moderne |
| Sujets non-standardisés: | B
Renaissance
B Théâtre B Epitaphs B England B DAVIE, Donald, 1922-1995 B Hypocrisy B Sincerity |
| Accès en ligne: |
Volltext (lizenzpflichtig) |
| Résumé: | In early modern England, theatrical performance was charged with undermining sincerity, while epitaphic writing was praised as upholding it. Given that epitaphs and plays were perceived to occupy contrasting positions with respect to the contemporary discourse surrounding sincerity, it is striking how often epitaphs are invoked in the dramas of the period: the preeminently sincere genre within the preeminently insincere genre. I suggest that the epitaphic genre provided dramatists with an unexpected vehicle for exploring the limits of sincerity; the repeated convergence of the two genres provides a kind of mutual critique. |
|---|---|
| ISSN: | 2056-5666 |
| Contient: | Enthalten in: Christianity & literature
|
| Persistent identifiers: | DOI: 10.1177/0148333117730434 |