Historiography and Ideology in Stuart Drama by Ivo Kamps

By Ivo Kamps

This can be the 1st research to discover the Stuart background play. Writing within the shadow of Shakespeare, Stuart playwrights have normally been evaluated during the aesthetic and political issues of the 16th century. Ivo Kamps' examine lines the advance of Stuart drama within the extensively various surroundings of the 17th century. a brand new realization of what heritage entailed, he claims, emerged in this interval, materially affecting the constitution of ancient drama. Stuart drama used this new curiosity in historiography to undermine inherited different types of political and literary authority.

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Historiography and Ideology in Stuart Drama

This can be the 1st research to discover the Stuart heritage play. Writing within the shadow of Shakespeare, Stuart playwrights have regularly been evaluated in the course of the aesthetic and political matters of the 16th century. Ivo Kamps' research lines the improvement of Stuart drama within the appreciably various setting of the 17th century.

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Though language denotes objects, he writes, it does not do so in a simple relationship, as though word and object stood adjacent, as two poles awaiting the electric current of interconnection. A text, naturally, may speak of real history, of Napoleon or Chartism, but even if it maintains empirical historical accuracy this is always afictivetreatment - an operation of historical data according to the laws of textual production... To say that the 'historical' literary work must operate as fiction is not, of course, to suppress the relevance of the particular history with which it deals, as though this might be any history.

We can perhaps in part attribute this "negotiation" between the dramatists and the histories to what D. R. Woolf calls "a countervailing tendency in the renaissance mind which allowed it to apply insights borrowed from one sphere of knowledge to problems presented by another" (Idea of History 24). Obviously, in this case, the dramatists' borrowing is not a neutral act, but rather one that sharpens and develops the historians' insights in ways that ultimately challenge both historiographical theory and practice.

They did not deny that in some ways the past was unlike the present; they knew, for example, that the ancients had not been Christians. But they did not take the difference very seriously" (Burke, Renaissance Sense I). 20 William Caxton and his contemporaries, Joseph Levine notes, accepted and embroidered an elaborate body of legend, both sacred and secular, and did not seek to differentiate between romance and chronicle or between past and present. The Trojan heroes and Christian saints who helped to populate the first printed books were often entirely imaginary and were almost always portrayed as contemporaries.

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