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To browse Academia. An appendix to my PhD thesis that lists Classical allusions in Jonson's comedies in tabular form. Tom Harrison. The emphasis on performance helps to steer the thesis away from focusing purely on classical literary allusions within Jonson's playtexts, and instead encompasses non-literary elements like theatregrams, modes of performance, spatial practices, and structural techniques that are not necessarily apparent on the page but are key elements of Jonson's dramaturgy.
The thesis contends that, in performative just as much as literary terms, Jonson's appropriation of the classics fits with the creative techniques of imitatio and contaminatio, two practices that placed emphasis on the modelling of literary or dramatic works on the examples of past writers and of the creative blending of these models to produce a new aesthetic object.
In addition, it is argued that the moral imperatives that drive Jonson's dramatic output are also a product of both of these creative practices, imbuing it with a blend of Greek and Roman dramaturgical and philosophical viewpoints that create a uniquely Jonsonian dramaturgy that is, in varying combinations, moralising, aggressive, sympathetic, and cynical.
The study proceeds thematically rather than chronologically, and makes use of critical methods and scholarship from a range of disciplines, including performance and comparativist criticism, English philology, classical studies, spatial theory, and reception studies. An appendix on all classical allusions in Jonson's comedies as documented by the plays' recent major editors and an appendix detailing the extant records of classical performances c. The idea that stage and page satire provides a mirror for its audience is key here, but Jonson complicates the metaphor, breaking his theatrical mirror and sharing among a series of characters, a dramaturgical strategy that problematises both authorial and audience privilege.
