Art Made Tongue-tied by Authority: Elizabethan and Jacobean Dramatic Censorship
In "Art Made Tongue-tied by Authority" Janet Clare argues that to understand dramatic and theatrical censorship in the Renaissance we need to map its terrain, note its serial changes and examine the language through which it was articulated. In tracing the development of dramatic censorship from its origins in the suppression of the medieval religious drama to the end of the Jacobean period, she shows how the system of censorship that operated under Elizabeth I and James I was dynamic, unstable and unpredictable. She questions notions that regard censorship as either consistently repressive or irregular and negotiable, arguing that it was governed by the contingencies of the historical moment.
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The typography of censorship in the Renaissance
the censor and the history plays
the censorship of history
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actors allusion appears argued audience authority Ben Jonson Bishop Buc's Catholic cause censor censorship Chamberlain Chapman Cobham contemporary context Court courtiers CSPD cultural Cynthia's Revels Daniel deleted dramatists Duke Earl early edition Elizabeth Elizabethan England English Essex evidence excised Falstaff Faustus folio text foreign French further Game at Chess Greenblatt hath Henry Henry IV Herbert historicist Honest Man's Fortune Isle of Dogs Isle of Gulls Jacobean James's Jonson King James King's later letter libel licensed lines literary London Lord Maid's Tragedy manuscript Marston Master Oldcastle omission Oxford passage performance Philaster Philotas play play's players playhouse playwrights political popular Prince printed Privy Council prohibited publication quarto Queen rebellion rebels reference reign Renaissance response Revels Office revised Richard royal satire scene Second Maiden's Tragedy seems Sejanus Shakespeare Sir John Sir Thomas social sorship Spanish stage subversive suggests suppression textual theatre Tilney Tilney's tion Tudor