how socio-political-religious contexts affected not only what was written, but how it was written. And, conversely, literary historians are attuned to the reciprocal shaping of texts and culture: they consider the socio-political-religious consequences of what was written and the ways that the actual form of texts can effect change. They can do this through attending to genre, as Daniel Cadman does when he explores how Stoicism and Calvinism work their way into Fulke Greville’s Alaham through the dissonant genres of classical tragedy and the morality play. Or scholars can trace the fortunes of various reformed theologies by following a particular literary paradigm (as Robert Hornback does in tracking the story of Jacob and Esau from Edwardian drama to Jacobean city comedy) or by following the larger development of drama (as Katherine A. Gillen does by studying the trajectory from John Bale’s biblical plays to Pericles). They can also consider the development of a particular text, as Terri Bourus does in examining Middleton’s religiously inflected additions to Measure for Measure. Then they can consider the verbal traces of other types of source materials, such as the echoes of French Huguenot accounts of the Saint Bartholomew’s Day massacre in Marlowe’s play (Elizabeth Pentland) or the language of Protestant catechisms in Measure for Measure (McPherson). They can position drama within a religio-political context, as Adrian Streete does in reading Henry VIII through conciliarism or as Brian J. Harries does when reading Henry VI’s relationship to devotional and sacred objects. They can analyze how the performative nature of theater itself becomes a player in religious history; Jay Zysk studies how theatrical spectacle in Henry VIII interrogates the complex relationship of liturgy, ceremony, and ritual in order to dramatize competing ideas of reformation, and William W. E. Slights considers how the interaction of stage and reformed church redefined the notion of conscience, an idea that in turn feeds back into the stage. And they can do good old-fashioned analysis of color imagery to innovatively show how Massinger positions Catholicism against Islam (Lisa Hopkins). If this collection of consistently high-quality essays gives us a snapshot of the “second wave” of the religious turn, we should add yet another category to Cox’s list: not only is analysis of religion and literature becoming more expansive in scope, it is also demonstrating a growing interest in the ways that literary form was a crucial element, and agent, of the Reformation.

中文翻译：

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理查德·普莱斯（Richard Preiss）在早期现代戏剧中的小丑和作者身份

社会政治宗教背景如何不仅影响写作内容，还影响写作方式。相反，文学史学家适应文本和文化的相互塑造：他们考虑所写内容的社会政治宗教后果以及文本的实际形式可以影响变化的方式。他们可以通过关注体裁来做到这一点，正如丹尼尔卡德曼在探索斯多葛主义和加尔文主义如何通过古典悲剧和道德戏剧的不和谐体裁进入富尔克格雷维尔的阿拉汉姆时所做的那样。或者，学者们可以通过遵循特定的文学范式（正如罗伯特霍恩巴克在追踪雅各布和以扫的故事从爱德华时代的戏剧到詹姆士一世的城市喜剧时所做的那样）或遵循戏剧的更大发展（如凯瑟琳 A. 吉伦通过研究从约翰贝尔的圣经戏剧到伯里克利的轨迹来做到这一点）。他们还可以考虑特定文本的发展，正如 Terri Bourus 在检查 Middleton 对 Measure for Measure 的宗教影响的补充时所做的那样。然后他们可以考虑其他类型源材料的语言痕迹，例如法国胡格诺派对马洛戏剧（伊丽莎白·彭特兰）中圣巴塞洛缪节大屠杀的描述的回声，或量测中新教教义问答的语言（麦克弗森）。他们可以在宗教政治背景下定位戏剧，就像阿德里安·斯特雷特通过公会主义阅读亨利八世时所做的那样，或者像布赖恩·J·哈里斯在阅读亨利六世与虔诚和神圣对象的关系时所做的那样。他们可以分析戏剧本身的表演性质如何成为宗教历史中的参与者；Jay Zysk 研究亨利八世中的戏剧奇观如何审问礼仪、仪式和仪式的复杂关系，以戏剧化改革的相互竞争的思想，而威廉 WE Slights 考虑舞台和改革后教堂的相互作用如何重新定义良心的概念，一种思想这反过来又反馈到舞台上。他们可以对彩色图像进行良好的老式分析，以创新地展示 Massinger 如何将天主教定位为反对伊斯兰教（丽莎·霍普金斯）。如果这本始终如一的高质量论文集为我们提供了宗教转向“第二波”的快照，我们应该在考克斯的清单中再增加一个类别：不仅对宗教和文学的分析范围变得更加广泛，而且也表现出对文学形式是关键元素和代理人的方式越来越感兴趣，