Reformers on Stage: Popular Drama and Religious Propaganda in the Low Countries of Charles V, 1515-1556
Notice bibliographique
Résumé
Waite's book is a welcome contribution to early modern studies: the first thematic and doctrinal study in English of the role of civic drama in promoting religious and social reform in the Netherlands, between the Burgundian era of the late middle ages and the wars of independence with Spain in the second half of the sixteenth century.The plays examined in Reformers on Stage were commissioned and performed in cities throughout Flanders and Holland by members of the chambers of rhetoric."Chambers" refers to both social organisations and performance events.The "chambers" were civic societies, whose literate all-male personnel were drawn from a fairly wide range of labouring, merchant, artisanal, and professional urban occupations."Chambers" were also public playing spaces, indoors in halls, or outdoors on fixed scaffolds or pageant wagons.When these stages were erected for inter-city drama competitions, or for royal or civic celebrations, they could be splendidly elaborate, as seen in a contemporary drawing, reproduced in this book, of the flamboyant, multi-level, neo-classical stage constructed for the famous Ghent competition in 1539.The illustration brings to mind the kind of lavish stage designs associated with court theatre in early seventeenthcentury England and continental Europe.The rhetoricians' plays were performed in the vernacular before audiences of men and some women from virtually all social classes.They varied considerably in style and genre, ranging from the farcical and scatological to the bookish and homiletic.Individual plays sometimes mixed these modes, so that bawdy dialogue, rough anticlerical satire, and didactic speeches appeared together in works dedicated to instilling moral virtues and advocating spiritual benefits from particular forms of worship.The drama's star attractions were the spelen van zinne: "plays of the senses," or, alternatively, "plays of the mind."The double meaning in zinne identifies the combined aesthetic and intellectual popularity of these plays.The spelen resembled Tudor morality plays in having allegorical figures represent human virtues, vices, and behavioural types.But in their creation of hybrid theatrical forms and their dedication to social commentary, the spelen's dramatic horizons were considerably more far-reaching.The anonymous Allegorical Play of a Sick City (ca.1535) provides an example.Its central female character, Amsterdam, has fallen ill because of repressive measures taken against hard-working reform-minded citizens.Amsterdam has been infected by Tyranny, and he and his sidekicks Hypocrisy and Finances gloat about their success to Scriptural Preacher.Their sectarian debates allude to a political conflict between the city's magistrates and civil militia.The latter supported the rhetoricians and their plays, which satirised the clergy and civic magistrates.A figure named Community threatens the wealthy So Many in apocalyptic tones.So Many is also accused of hoarding grain and causing recent food shortages.When he complains to Hypocrisy about this treatment, Hypocrisy wryly
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction machine sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Le volet Gemma est une étiquette directe du modèle pour chaque travail de la base, lue sur la notice réduite au titre. Le volet Codex est un classifieur appris des 10 348 étiquettes directes de Codex et calibré sur les taux pondérés de l'échantillon; les champs sans appui suffisant ne portent aucun appel Codex. Le mode candidate est l'union des deux volets; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont pas des étiquettes humaines.
Scores du classifieur distillé par catégorie (deux têtes)
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,001 | 0,004 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,001 | 0,002 |
| Études des sciences et des technologies | 0,014 | 0,008 |
| Communication savante | 0,006 | 0,001 |
| Science ouverte | 0,001 | 0,003 |
| Intégrité de la recherche | 0,002 | 0,005 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,004 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule source (Gemma direct ou Codex distillé), pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».