\u27Another Key\u27 to Act Five of \u3cem\u3eA Midsummer Night’s Dream\u3c/em\u3e

Daniel Pollack-Pelzner offers evidence as to why editors might choose to assign speeches in Act Five of Shakespeare\u27s A Midsummer Night\u27s Dream either to Philostrate or to Egeus

Why Ganymede Faints and the Duke of York Weeps: Passion Plays in Shakespeare

This article revisits contemporary critical debates surrounding the presence of cross-dressed boys as women on the early modern stage – in particular the question of whether or to what extent boy-actors could or should be said to represent ‘women’ or ‘femininity’ – through the Shakespearian emblem of the bloody rag or handkercher. In all but one instance, these soiled napkins appear alongside what the plays call ‘passion’ of various kinds. I examine bloody rags on Shakespeare’s stage in the light of early modern anti-theatrical polemics, medical disputes about sex-difference and the conflicted cultural status of printed paper in order to argue that these besmirched tokens bring together early modern ‘passions’ in multiple senses: strong or overpowering, embodied feeling; the fluid dynamics of early modern bodies; the Passion of Christ; erotic suffering; and, crucially, the performance on stage of all of the above

The Natural History of The Silkewormes and their Flies

Images published with permission of The British Library Board (434.f.10), the Huntington Library and Proquest. Further reproduction is prohibited.Images published with permission of The British Library Board (434.f.10), the Huntington Library and Proquest. Further reproduction is prohibited.Images published with permission of The British Library Board (434.f.10), the Huntington Library and Proquest. Further reproduction is prohibited.Images published with permission of The British Library Board (434.f.10), the Huntington Library and Proquest. Further reproduction is prohibited.This study examines the overlap between natural philosophy and humanist imitation in two works by Thomas Moffet: his reference work Insectorum sive Minimorum Animalum Theatrum (written c.1589) and his poem The Silkewormes, and their Flies (1599). Both works draw extensively on contemporary and classical authors in order to create intertextual collages that look backwards towards the natural unity found in the Garden of Eden. This leads me to argue that The Silkewormes’ compositional style shares more in common with Guillaume de Saluste, Sieur Du Bartas's Sepmaine (1578, 1584) than with Virgilian didactic poetry. I consider throughout Elizabethan notions of authority, composition and originality, and conclude that Silkewormes merits critical attention for its skilful synthesis of diverse material in creating a work appropriate for Mary Herbert and her household at Wilton.Arts and Humanities Research Counci

William Shakespeare as a Purveyor of Re-Productions: Understanding Shakespeare’s Plays as Profitable Products

This project, “Recasting William Shakespeare in The Business of Playwriting,” works to reinvigorate the value gained by reading Shakespeare by: Beginning with espousing the importance of reading Shakespeare as a practical businessman first, instead of the mythological literary genius that men decades and now centuries after Shakespeare marketed and herald him as. Although this is not the primary focus of this paper, it is an important framework that begins to enable us to shift our presumptions of the canonical text, Romeo and Juliet . The next section sets the backdrop, i.e. the environment, in which Shakespeare used an emerging profession to recreate literature and runs through the “ancestry” of the star-crossed lovers archetype. Finally, the main section of this project identifies and explicates particular loci where Shakespeare transformed the original text in order to target and appeal to the audience of the times; in particular to Romeo & Juliet , this includes that of the creation of suspense, tragedy in relation to comedy, and an interrogation of love at first sight. This project concludes with a quick review of other proof of audience recognition within Shakespeare’s corpus that can lead to further investigations and close readings of other texts, Shakespearean or not, for financial motivations. All of which will help readers of Shakespeare come away with a greater business appreciation of his work and possibly force readers to think about the economic constraints and incentives shaping literature

Making sense of the party wall legislation: still no easy task

Notes the ambiguities within the party wall legislation. Describes the “proceduralist” and “rightist” approaches to interpretation of the statute. Provides examples of each approach. Traces the development of the current judicial approach to interpretation and describes surveyors’ responses to this. Cites the recent case of Frances Holland School v. Wassef [2001] as demonstrating the consistency of the judicial approach. Discusses issues, raised by the case, relating to ex parte awards and the statutory definition of “owner”. Concludes that surveyors should follow a rightist approach to the legislation, whilst also understanding the limits of the rightist doctrine

A Midsummer Night's Dream: an opera by Benjamin Britten

This is the concert program of A Midsummer Night's Dream by Benjamin Britten, running from Saturday, November 23 to Tuesday November 26, 1996, with November 23, 25, and 26 at 8:00 p.m. and November 24 at 2 p.m., at the Boston university Theatre, 264 Huntington Avenue. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Synchronous and symmetric migration of Drosophila caudal visceral mesoderm cells requires dual input by two FGF ligands

Caudal visceral mesoderm (CVM) cells migrate synchronously towards the anterior of the Drosophila embryo as two distinct groups located on each side of the body, in order to specify longitudinal muscles that ensheath the gut. Little is known about the molecular cues that guide cells along this path, the longest migration of embryogenesis, except that they closely associate with trunk visceral mesoderm (TVM). The expression of the fibroblast growth factor receptor (FGFR) heartless and its ligands, pyramus (pyr) and thisbe (ths), within CVM and TVM cells, respectively, suggested FGF signaling may influence CVM cell guidance. In FGF mutants, CVM cells die before reaching the anterior region of the TVM. However, an earlier phenotype observed was that the two cell clusters lose direction and converge at the midline. Live in vivo imaging and tracking analyses identified that the movements of CVM cells were slower and no longer synchronous. Moreover, CVM cells were found to cross over from one group to the other, disrupting bilateral symmetry, whereas such mixing was never observed in wild-type embryos. Ectopic expression of either Pyr or Ths was sufficient to redirect CVM cell movement, but only when the endogenous source of these ligands was absent. Collectively, our results show that FGF signaling regulates directional movement of CVM cells and that native presentation of both FGF ligands together is most effective at attracting cells. This study also has general implications, as it suggests that the activity supported by two FGF ligands in concert differs from their activities in isolation

‘Christ and the Soul are like Pyramus and Thisbe’: An Ovidian story in Fifteenth-Century sermons

The sophisticated ways in which several fifteenth-century preachers used Ovidian stories and their allegorical interpretations prove that late medieval sermons represent a promising but neglected area for classical reception studies. Preachers – whose names are today almost forgotten by scholars but whose sermons circulated at large in early printed books – considered Ovidian allegories as powerful instruments for instructing, entertaining, and moving their audiences. This article begins with a review of the literature on the presence of Ovid in sermons, and discusses the methodology to study the transformation of classical myths in preaching. Then, it focuses on four sermons that incorporated the story of Pyramus and Thisbe, which appears in the sermon collections written by Conrad Grütsch, Johann Meder, and Jacobus de Lenda. The repeated use of this Ovidian myth allows us, therefore, to investigate how different preachers appropriated and re-elaborated this story, and the role that it played in diverse contexts. Finally, the analysis of these texts also sheds light on the use of the Ovidius moralizatus in fifteenth-century sermons

Dickens\u27s Hamlet Burlesque

Daniel Pollack-Pelzner considers what an interlude in Great Expectations involving a spectacularly bad production of Hamlet can do for Hamlet. Specifically, Pollack-Pelzner looks at what Dickens\u27s rendering of Mr. Wopsle\u27s travesty reveals about Hamlet\u27s openness to an audience\u27s derisive laughter. Wopsle’s production may be a travesty, but Dickens’s narrative of that production is a burlesque, with Hamlet as much its target as Wopsle