The English Renaissance in Popular Culture: An Age for All by Greg M. Colón Semenza

By Greg M. Colón Semenza

Regardless of the explosion of scholarship on Shakespeare in pop culture, too little awareness has been paid to the Renaissance itself as an imagined old interval. The English Renaissance in pop culture considers renowned culture’s confrontations with the background, suggestion, and significant figures of the English Renaissance. examining “period films,” appropriations, tv productions, well known literature, hobbies comparable to Ren Faires, or even punk song, its individuals discover the wealthy ways that pop culture seeks to interact the Renaissance. eventually, this crucial assortment asks how such well known engagements impression the instructing and the cultural significance of English Renaissance literature and historical past.

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Extra resources for The English Renaissance in Popular Culture: An Age for All Time (Reproducing Shakespeare: New Studies in Adaptation and Appropriation)

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David Boocker has written on “Milton After 9/11,” in Milton in Popular Culture, ed. Laura L. Knoppers and Gregory M. Colón Semenza (New York: Palgrave Macmillan, 2006), 177–86. 3. Alex Cox, director of the 2002 film The Revenger’s Tragedy, argues that regardless of whether particular Shakespeare films can be called progressive, the Shakespeare-on-film industry has systematically excluded the reproduction of radical tragedy by Shakespeare’s contemporaries; it is an industry, therefore, that should be taken to task for its cultural conservativism.

Henry is not only a rewriter of history but also a poet, actor, composer, and patron; in this sense, he is seen to inhabit a world similar to that explored in Shakespeare in Love. Court musicians, writers, and artists are drawn as characters in their own right and emerging from their largely lower-class social affiliations is a marked impression of a creative meritocracy. Present throughout is Thomas Wyatt (Jamie Thomas King): his poems enter the story-line as voice-overs, with such lines as “They flee from me, that sometime did me seek” furnishing a wry, diegetic commentary.

Sanders, 24, 159. 19. Steve Brennan and Bernadette O’Neill, Emeralds in Tinseltown: The Irish in Hollywood (Belfast: Appletree, 2007), 161. 20. Sullivan, 15. 21. 3 (2003): 56–57. 22. Female-female relations are uneasy and subject to quick betrayals: the series brings to mind recent female-led television dramas, including Desperate Housewives. 1057/9780230106444 - The English Renaissance in Popular Culture, Edited by Gregory M. com - licensed to Universitetsbiblioteket i Tromso - PalgraveConnect - 2011-03-14 Notes ● Ramona Wray 23.

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