Grace Tiffany
Biographic Data
| ID | 1133931 |
|---|---|
| NAME | Grace Tiffany |
| GIVEN NAMES | Grace |
| FAMILY NAME | Tiffany |
| SIGNATURE | TIFFANY G |
| AFFILIATIONS | Western Michigan University |
| ORCID | 0000-0003-2110-9358 |
| VERIFIED | Yes |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 9 |
| AUTHOR COUNT | 7 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1999 |
| LATEST PUBLICATION YEAR | 2018 |
| H-INDEX | 2 |
Paganism and Reform in Shakespeare's Plays
Shakespeare's plays mix references to pagan and Christian symbols and ideas in ways which are only superficially contradictory. While the sometimes uneasy juxtaposition of classical and Christian religious thought is characteristic of Renaissance literature, there is, in Shakespeare's use of paganism, a method to the madness. Shakespeare's comedies and romances associate the worship of Diana with the Catholic ideal of religious celibacy, and ulti…
Approaches to Teaching Shakespeare’s Taming of the Shrew
Dupuis, Margaret and Grace Tiffany, eds. Approaches to Teaching Shakespeare’s Taming of the Shrew. An article from journal Renaissance and Reformation / Renaissance et Réforme (Comedy, Satire, Paradox, and the Plurality of Discourses in Cinquecento Italy), on Érudit
[A]ction may / Conveniently the rest convey
This paper explores the self-consciousness of Shakespeare's stage adaptation of Gower's Confessio de Amantis, showing that Pericles, like Shakespeare's other romances, is explicitly concerned with the relationship between narrative and enactment. Rather than disparage written romance in comparison to performed story, Shakespeare in Pericles proposes performance as the completion and fulfilment of the tales books begin. Within the play, Marina's v…
Shakespeare's Miracle Plays
The essay argues that with regard to the doctrine of miracles, Shakespeare travelled outside the pathways of, on the one hand, Catholic belief in saints' wonderworks and, on the other, philosophical scepticism about and Protestant disdain for miracle stories.Henry V,All's Well that Ends Well, and all four of Shakespeare's romances are “miracle plays” that embrace and exult in a new kind of miracle. The wonders achieved in these plays are secular,…
Revenge Tragedy and the Drama of Commemoration in Reforming England
Love's Pilgrimage
in occupational mobility is mirrored in a lower-order audience's interaction with ballads, but without any psychological cost to the participants.While Barlow's sketches are, in Fumerton's analysis, unsettling in their depiction of perpetual itinerancy, ballads provide a benign version of unsettled subjectivity that could be freely imagined and cast off as it could not be in real life.Though Fumerton maintains that ballads offer the fullest expre…
Shakespeare's Dionysian Prince
This essay argues that Shakespeare drew on Plutarch's and Plato's representations of the Greek general Alcibiades in his representation of Prince Hal/King Henry V, and on classical and Renaissance representations of Socrates for his representation of Prince Hal's "tutor," Falstaff. Crucial to Shakespeare's adaption of these classical "characters" were the writings of Erasmus and Rabelais, which represented Socrates as both sophist and jovial Sile…
Paganism and Reform in Shakespeare's Plays
Shakespeare's plays mix references to pagan and Christian symbols and ideas in ways which are only superficially contradictory. While the sometimes uneasy juxtaposition of classical and Christian religious thought is characteristic of Renaissance literature, there is, in Shakespeare's use of paganism, a method to the madness. Shakespeare's comedies and romances associate the worship of Diana with the Catholic ideal of religious celibacy, and ulti…
Shakespeare's Dionysian Prince
This essay argues that Shakespeare drew on Plutarch's and Plato's representations of the Greek general Alcibiades in his representation of Prince Hal/King Henry V, and on classical and Renaissance representations of Socrates for his representation of Prince Hal's "tutor," Falstaff. Crucial to Shakespeare's adaption of these classical "characters" were the writings of Erasmus and Rabelais, which represented Socrates as both sophist and jovial Sile…
Shakespeare's Dionysian Prince
This essay argues that Shakespeare drew on Plutarch's and Plato's representations of the Greek general Alcibiades in his representation of Prince Hal/King Henry V, and on classical and Renaissance representations of Socrates for his representation of Prince Hal's "tutor," Falstaff. Crucial to Shakespeare's adaption of these classical "characters" were the writings of Erasmus and Rabelais, which represented Socrates as both sophist and jovial Sile…
Love's Pilgrimage
in occupational mobility is mirrored in a lower-order audience's interaction with ballads, but without any psychological cost to the participants.While Barlow's sketches are, in Fumerton's analysis, unsettling in their depiction of perpetual itinerancy, ballads provide a benign version of unsettled subjectivity that could be freely imagined and cast off as it could not be in real life.Though Fumerton maintains that ballads offer the fullest expre…
Revenge Tragedy and the Drama of Commemoration in Reforming England
Shakespeare's Miracle Plays
The essay argues that with regard to the doctrine of miracles, Shakespeare travelled outside the pathways of, on the one hand, Catholic belief in saints' wonderworks and, on the other, philosophical scepticism about and Protestant disdain for miracle stories.Henry V,All's Well that Ends Well, and all four of Shakespeare's romances are “miracle plays” that embrace and exult in a new kind of miracle. The wonders achieved in these plays are secular,…
[A]ction may / Conveniently the rest convey
This paper explores the self-consciousness of Shakespeare's stage adaptation of Gower's Confessio de Amantis, showing that Pericles, like Shakespeare's other romances, is explicitly concerned with the relationship between narrative and enactment. Rather than disparage written romance in comparison to performed story, Shakespeare in Pericles proposes performance as the completion and fulfilment of the tales books begin. Within the play, Marina's v…
Approaches to Teaching Shakespeare’s Taming of the Shrew
Dupuis, Margaret and Grace Tiffany, eds. Approaches to Teaching Shakespeare’s Taming of the Shrew. An article from journal Renaissance and Reformation / Renaissance et Réforme (Comedy, Satire, Paradox, and the Plurality of Discourses in Cinquecento Italy), on Érudit
Paganism and Reform in Shakespeare's Plays
Shakespeare's plays mix references to pagan and Christian symbols and ideas in ways which are only superficially contradictory. While the sometimes uneasy juxtaposition of classical and Christian religious thought is characteristic of Renaissance literature, there is, in Shakespeare's use of paganism, a method to the madness. Shakespeare's comedies and romances associate the worship of Diana with the Catholic ideal of religious celibacy, and ulti…
Art (7 works) · Literature (6 works) · History (4 works) · Philosophy (4 works) · Philosophy (3 works) · Theology (3 works) · Art history (2 works) · Classics (2 works) · Classics (2 works) · Drama (2 works)