Results 21 to 30 of about 2,034 (131)

The Duchess of Malfi de John Webster ou le corps dans tous ses états: « Some said he was an hermaphrodite, for he could not abide a woman » (3. 2. 217-218)

Sillages Critiques, 2019
In The Duchess of Malfi, Webster stages the Duchess’s pregnant body (1.1), the Duchess gorging on apricots (2.1), the Duchess kissing a cut-off hand (4.1), the wax effigies of Antonio and the children’s dead bodies (4.1).
Laetitia Coussement-Boillot
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Introduction : « La Duchesse d’Amalfi, des humeurs baroques à une passion moderne ? »

Sillages Critiques, 2019
Webster’s tragedy, The Duchess of Malfi (1613), shows the weight of the fourteen-century-old Greek conception of compelling passions motivated by « humours », especially the black humour or melancholy.
Gisèle Venet
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Malcontented agents : from the novellas to Much Ado about Nothing and The Duchess of Malfi [PDF]

, 2018
Shakespeare’s Much Ado about Nothing (c.1598) and Webster’s The Duchess of Malfi (c. 1613) are two plays in which Matteo Bandello’s portrayal of evil agents in his novellas exert a constant, even if not immediately obvious, influence.
Nigri, L
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Memories of “wretched eminent things” (5.5.113): Remembrance and Posterity in John Webster’s Duchess of Malfi (1613–1614).

XVII-XVIII
One of the key moments of John Webster’s The Duchess of Malfi (1613-14) is the writing of the Duchess’s will. On the surface, memory is a state in which princes must consider their own mortality.
Louis André
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Intertextuality in Tragedy and Crime Fiction in Shakespeare’s Othello, Webster’s The Duchess of Malfi, Christie’s Curtain and Sleeping Murder

مجلة الآداب, 2019
Christie maneuvers the storylines of Shakespeare’s Othello (c. 1604) and Webster's The Duchess of Malfi (1613/14) into crime fiction in, respectively, Curtain (1975) and Sleeping Murder (1976), establishing the actions of certain characters as patterns ...
Tara Dabbagh
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Ants Oras: Did He Know Russian “Formalists”? [PDF]

, 2015
The article compares two approaches to studying line segmentation in verse. Line segmentation probably corresponded to pauses in declamation. The Estonian scholar Ants Oras studied syntactic breaks in Elizabethan dramas using punctuation as a signal of a
Tarlinskaja, Marina
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So Much More Than Honour Killing: Reading The Duchess of Malfi

Radical Teacher
This teaching note demonstrates how John Webster's Duchess of Malfi continues to resonate in an Indian classroom of the 21st century. It focuses on the patriarchal systems within which the Duchess is embedded which make it impossible for her to do ...
Anna Kurian
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Webster’s Geometry; or, the Irreducible Duchess

English Literature, 2014
This study of geometry, gender, and skepticism in John Webster’s The Duchess of Malfi argues that the play leaves us in a hall of mirrors, a horror show of optical tricks, delusion, narcissism, and perspectivism from which there seems to be no escape,
Bertram, Benjamin
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Studied Speech and The Duchess of Malfi: The Lost Arts of Rhetoric, Memory, and Death

Sillages Critiques, 2019
In this article, Loughnane uses two key lines from the opening scene of Webster’s The Duchess of Malfi about the two brothers’ ‘studied speech’ to discuss how the play’s themes and ideas connect to a broader cultural preoccupation with practices of ...
Rory Loughnane
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The Duchess of Malfi (1969) [PDF]

, 1969
Playwright: John Webster Director: Hal Todd Set Design: J. Wendell Johnson Costumes: Berneice Prisk Lighting: Paul Myrvold Academic Year: 1968-1969https://scholarworks.sjsu.edu/productions_1960s/1011/thumbnail ...
San Jose State University, Theatre Arts
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