As you might have noticed, my blog has been seriously neglected lately. Why? Well, in addition to my day job, I started a professional certificate in editing at the University of Chicago–so my available time has taken a hit. I’m not able to give plays like The Changeling the attention they deserve and post an analysis in a decent space of time.
I want to keep my blog up and running, though, so I’ve hit on an idea. The second half of my MA thesis was good as far as content, but I never felt it matched the first half stylistically. What I propose to do is break the second half into sections and edit them to my liking, then post them here. With any luck you’ll find them as entertaining and informative about early modern drama as my earlier posts.
The title of my thesis was The Sea in Early Modern Drama: Existential Affect, Imperative Choice, and Embodiment of Transformation. The project was more of a compendium of examples and how they were used than a defense of a stated argument. The first half (in my opinion, the better stylistically) addresses language used by early modern dramatists to portray situations of intense emotion or imperative choice, such as Brutus’s line “there is a tide in the affairs of men” (Shakespeare, Julius Caesar 4.3.215 [Arden Complete Works]). The second half, the one I propose to post in sections here, looks at language suggesting the embodiment of transformation: think Ariel’s song in The Tempest or Clarence’s dream in Richard III. If you’re here for the non-Shakespearean content, no worries! Works by Will’s contemporaries are also part of the discussion–you might even learn about a play you didn’t know existed.
Thanks for being patient while I revise what I think is an interesting exploration of dramatic language and usage. When I can, I’ll get back to my close reading of non-Shakespearean drama.
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