The White Devil and the Duchess of Malfi: Text and Performance

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An apartment in the palace of the Duchess.

The White Devil

An apartment in the palace of the Cardinal. An apartment in the residence of the Cardinal and Ferdinand. A few punctuation marks have been added. These are always set off by angle brackets. The text is modernised and edited to the highest scholarly standards, with textual notes and commentary notes on the same page for ease of reference.

The White Devil, an adaptation of John Webster's tragedy - Part I

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The White Devil and the Duchess of Malfi | SpringerLink

When reading John Webster's two revenge tragedies "The White Devil" and "The Duchess of Malfi", a great number of excessive crimes against morality can be pointed to immediately, be it intrigue, adultery, cruelty, or murder in any form When reading John Webster's two revenge tragedies "The White Devil" and "The Duchess of Malfi", a great number of excessive crimes against morality can be pointed to immediately, be it intrigue, adultery, cruelty, or murder in any form imaginable. Others, like incest, can only be discovered at closer inspection and need to be read from between the lines.

This paper analyses and compares two extraordinary brother-sister relationships, namely those between Vittoria and Flamineo and of the Duchess and Ferdinand, and proves that they are strongly sexualised to a degree that might be labelled incestuous. Save to Library. Specifically, The Duchess of Malfi offers audiences a gendered type of memorial, one based on the ability of a female character to posthumously influence the actions of others.

Entries written in English or French have been classified in sections Entries written in English or French have been classified in sections dealing with critical editions of the play, French-language translations, bibliographies on John Webster, books on Webster, monographs on The Duchess of Malfi, anthologies of criticism, articles in journals, essays in collections, chapters from books, a selection of academic reviews of post stage productions as well as stage and screen productions which are available for viewing.

Reprints and revisions are also included so that the reader may have easy access to references which may be found in print form or online. Duchess invites audiences to listen for not only equestrian activities and equine bodies but also horse-related literary allusions and socio-political symbolism. The sounds of horses and horsemanship in Duchess produce a sensibly familiar if inexorably tragic world in which Webster generates characters as embodied, ethical, and social creatures.

Successive focuses on individual scenes are also an occasion for intra-textual conversations which highlight the significance of the passages under study in the overall economy of the play.

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Contributors : David K. Nathalie Rivere de Carles. In my end is my beginning: Time's Up for the Duchess of Malfi. It enables us to envisage an object in terms of both its material and poetic existence on the It enables us to envisage an object in terms of both its material and poetic existence on the stage and on the page. The tragic manipulation of the comic topos of love thanks to the arras leads us to consider it less as a dramaturgical instrument than as a mode of writing.


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Webster relies on the arras and its avatars to create a paroxysmal dramaturgy of cruelty successfully fusing the conventional and the realistic to switch the focus from revenge to injustice. James's Cordelia Gray Mysteries. Although the so-called Golden Age of Detective Fiction was pretty much dominated by female authors like Agatha Christie and Ngaio Marsh, and even though the genre continues to produce plenty of contestants for the unofficial title of This concerns the institutional level of writing and publishing as much as it does the ideological subtexts of many detective novels, which frequently focus on male investigators protecting a patriarchal system of inheritance against interlopers and reformers.

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This means that female detectives often find themselves caught in a double-bind, what with their investigations helping to sustain the very system that discriminates against them. This article highlights this conundrum by examining the oeuvre of the late P. James James produced nearly twenty highly successful whodunits, yet she famously retired her only female investigator, Cordelia Gray, after a mere two adventures "An Unsuitable Job for a Woman" [] and "The Skull beneath the Skin" [].

This chapter reads John Webster's "The Duchess of Malfi" as a response to changing ontologies suggested by Galileo's lunar observations that reads them as strong evidence for a universe devoid of occult sympathies and influences; indeed This chapter reads John Webster's "The Duchess of Malfi" as a response to changing ontologies suggested by Galileo's lunar observations that reads them as strong evidence for a universe devoid of occult sympathies and influences; indeed almost completely devoid of supernatural interference, whether of demons or of God.

Moreover, the new post-Keplerian theories of vision, involving the elimination of visual species bearing occult and potentially lunar influences, reinforce a sense of epistemic uncertainty and disenchantment.. As a result, the unstable epistemic and visual assumptions of the lunar investigations are juxtaposed with the misogynist assumptions of the investigation of women, grounding both not in metaphysical or theological certainties but in practical skepticism and dirty court politics.

Moreover, these investigations reveal a series of misogynist ethical double standards. The male investigators in the play, Ferdinand and Bosola, are prosecutors; they repeatedly attack women for deceitful inconstancy, usually marked as a form of hysteria, sexual or emotional incontinence linked to uterine disease and lunar influence.



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