The early modern cultures of neo-latin drama [symposium of the Cambridge Society for neo-latin studies in september 2007

The essays in this collection all illustrate the vitality of Neo-Latin drama in early modern Europe, arising from its productive combination of classical models with deep-rooted vernacular traditions. While the plays were often composed in the context of a school or university setting, the dramatists seldom neglected the need to appeal to a broad audience, including non-Latinists. Yet the use of Latin, and the ambiguity of a plurivocal literary form, allowed the authors of these plays to introduce messages and ideas that could be subversive of the prevailing political and religious authorities. At the same time, humanist colleges and their Jesuit successors were quick to see the educational advantages to be derived from staging plays performed by pupils, which had the advantage of acting as powerful advertisements for the schools. Neo-Latin drama in all its forms offered a freedom of expression and form rare in other Renaissance literary genres. Contributors: J. Pascual Barea, Universidad de Cádiz; J. Bloemendal, Huygens Institute, KNAW, The Hague; E. Borza, Université catholique de Louvain; J. De Landtsheer, KU Leuven–University of Leuven; A. Eyffinger, Huygens Institute, KNAW, The Hague; C. Ferradou, Université de Provence; S. Knight, University of Leicester; J. Loach, Cardiff University; H. B. Norland, University of Nebraska, Lincoln; V. Coroleu Oberparleiter, University of Salzburg; O. Pédeflous, Paris IV and Institut Thiers; C. Ryan, Merton College, Oxford; M. Verweij, Royal Library of Belgium The vitality and power of expression of Neo-Latin Drama. The essays in this collection all illustrate the vitality of Neo-Latin drama in early modern Europe, arising from its productive combination of classical models with deep-rooted vernacular traditions. While the plays were often composed in the context of a school or university setting, the dramatists seldom neglected the need to appeal to a broad audience, including non-Latinists. Yet the use of Latin, and the ambiguity of a plurivocal literary form, allowed the authors of these plays to introduce messages and ideas which could be subversive of the prevailing political and religious authorities. At the same time, humanist colleges, and their Jesuit successors, were quick to see the educational advantages to be derived from staging plays performed by pupils, which had the advantage of acting as powerful advertisements for the schools. Neo-Latin drama in all its forms offered a freedom of expression and form which is rare in other Renaissance literary genres. Contributors: J. Pascual Barea (Universidad de Cádiz), J. Bloemendal (Huygens Institute, KNAW, The Hague), E. Borza (Université catholique de Louvain), J. De Landtsheer (University of Leuven), A. Eyffinger (Huygens Institute, KNAW, The Hague), C. Ferradou (Université de Provence), S. Knight (University of Leicester), J. Loach (Cardiff University), H. B. Norland (University of Nebraska, Lincoln), V. Coroleu Oberparleiter (University of Salzburg), O. Pédeflous (Paris IV and Institut Thiers), C. Ryan (Merton College, Oxford), M. Verweij (Royal Library of Belgium). Bron: Flaptekst, uitgeversinformatie The essays in this collection all illustrate the vitality of Neo-Latin drama in early modern Europe, arising from its productive combination of classical models with deep-rooted vernacular traditions. While the plays were often composed in the context of a school or university setting, the dramatists seldom neglected the need to appeal to a broad audience, including non-Latinists. Yet the use of Latin, and the ambiguity of a plurivocal literary form, allowed the authors of these plays to introduce messages and ideas that could be subversive of the prevailing political and religious authorities. At the same time, humanist colleges and their Jesuit successors were quick to see the educational advantages to be derived from staging plays performed by pupils, which had the advantage of acting as powerful advertisements for the schools. Neo-Latin drama in all its forms offered a freedom of expression and form rare in other Renaissance literary genres. Contributors: J. Pascual Barea, Universidad de Cadiz; J. Bloemendal, Huygens Institute, KNAW, The Hague; E. Borza, Universite catholique de Louvain; J. De Landtsheer, KU Leuven University of Leuven; A. Eyffinger, Huygens Institute, KNAW, The Hague; C. Ferradou, Universite de Provence; S. Knight, University of Leicester; J. Loach, Cardiff University; H. B. Norland, University of Nebraska, Lincoln; V. Coroleu Oberparleiter, University of Salzburg; O. Pedeflous, Paris IV and Institut Thiers; C. Ryan, Merton College, Oxford; M. Verweij, Royal Library of Belgium" 'From ca. 1300 a new genre developed in European literature, Neo-Latin drama. Building on medieval drama, vernacular theatre and classical drama, it spread around Europe. It was often used as a means to educate young boys in Latin, in acting and in moral issues. Comedies, tragedies and mixed forms were written. The Societas Jesu employed Latin drama in their education and public relations on a large scale. They had borrowed the concept of this drama from the humanist and Protestant gymnasia, and perfected it to a multi media show. However, the genre does not receive the attention that it deserves. In this volume, a historical overview of this genre is given, as well as analyses of separate plays.'--From publisher's website