Detailed Information on Publication Record
2013
Encoding the Papacy and St. Peter in Recusant Drama
OSOLSOBĚ, PetrBasic information
Original name
Encoding the Papacy and St. Peter in Recusant Drama
Name in Czech
Kódované odkazy k papežství a k sv. Petru v rekusantském dramatu
Authors
OSOLSOBĚ, Petr (203 Czech Republic, guarantor, belonging to the institution)
Edition
Popes and the Papacy in early modern English culture An interdisciplinary conference at the University of Sussex, 24th-26th June 2013, Sussex, 2013
Other information
Language
English
Type of outcome
Prezentace na konferencích
Field of Study
60300 6.3 Philosophy, Ethics and Religion
Country of publisher
United Kingdom of Great Britain and Northern Ireland
Confidentiality degree
není předmětem státního či obchodního tajemství
References:
RIV identification code
RIV/00216224:14210/13:00087908
Organization unit
Faculty of Arts
Keywords (in Czech)
Shakespeare; náboženství; filosofie
Keywords in English
Shakespeare; religion; philosophy
Tags
Tags
International impact
Změněno: 3/4/2017 23:47, prof. PhDr. Petr Osolsobě, Ph.D.
V originále
After the Regnans in Excelsis (1570), a Pope, or “the Italian priest” was regarded as an open enemy of the English state. Protestant Culture engaged itself in ‘apocalyptic disclosures’ (Alison Shell) identifying the Pope as the Whore of Babylon, or the Devil incarnate, which was often expressed by the theatrical gesture of tearing a veil or a curtain and showing the Devil behind the seated Pope. Such imaginative techniques led to ‘a dualistic habit of thought’ or ‘a process of binary opposition, inversion or argument from contraries’ (Peter Lake). Recusant culture, contrariwise, has evolved a series of figures and tropes for veiling the positive religious meaning of Peter’s successors, e.g. allegorical patterns of miraculous fishing, gate-keeping and key-bearing, the Rock; Peter’s Complaint; Peter in Chains; homophony: room=Roome; the usage of Imperium and Caesar instead of Ecclesia and the Pope, commemorating Roman antiquities in English history, and the like. In my paper I shall concentrate upon demonstrating those sophisticated, but effective ways of encoding and orchestrating the Papacy in a non-political and non-dualistic mode, using the figure of St. Peter to remind the public of his true title and commitment. I dare to hope to bring my own piece of recusant exegesis to the almost comprehensive detection made so far by present-day scholars, by analyzing the encoded figure of Peter the Apostle in Sir Thomas More and Romeo and Juliet. In Sir Thomas More, we find his attributes in More’s invitation to Chelsea for ‘fishing’ with ‘a cunning net, not like weak film’ metaphorically enforced by the name of John Fisher, bishop of Rochester, and by the mention of Julius Caesar’s foundation of the Tower, and Chelsea’s association with the place of the first Peter’s Pence paid by Offa to Rome (787). In Romeo and Juliet a much more complicated symbolism seems to be employed.
In Czech
Po vydání Regnans in Excelsis (1570)exkomunikující Alžbětu Tudorovnu, byl v papeži spatřován ze strany protestantů jen "italský kněz" a nepřítel státu. Alison Shellová připomíná princip "postupného odhalování" v protestanské dramaturgii. U Shakespeara vidíme však velmi často opačný postup protektivního zahalování a skrývání. Kódované odkazy k papežství a k sv. Petru v rekusantském dramatu najdeme i v Shakesperově Romeovi a Julii (1595) a v apokryfní hře Sir Thomas More (asi 1592), jejíž část (ruka D) je rovněž připisována Shakesperovi. V systému odkazů hraje zvláštní význam topos apoštola Petra (papežství), slovní hříčky s dvojznačností slova Roome (Řím i místo, prostor), odkazy k římskému imperiu, Juliu Caesarovi jako zakladateli Toweru (Ecclesia Romana), a další.
Links
| GA405/08/1223, research and development project |
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