토마스 모어의 사후명성과 16세기 후반 영국의 문화전쟁: 『토마스 모어 경』을 중심으로
A Culture War in Late Sixteenth-Century England over the Name of Sir Thomas More
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This essay aims to investigate how the name of Sir Thomas More was appropriated and re-imagined after his death and during the Elizabethan era and thereby to prove how Thomas More became a point of contest in the period—the contest over political, religious, economic hegemony. When his name was suppressed immediately after his death and mostly up to the Marian reign, his image was often linked to the cruelty of the Catholic inquisition against Protestantism. By contrast, the late Elizabethan period witnessed a rejuvenation of More’s name and image in more positive ways. Sir Thomas More by Anthony Munday and others, presents a unique case in appropriating his name and image commencing in the late-1590s’ politico-religious-economical context of England, and of London in particular. The play, I argue, exemplifies the ways in which More’s name and images were appropriated and adapted for the ideological purposes of nationalism and Protestantism.
Abstract
This essay aims to investigate how the name of Sir Thomas More was appropriated and re-imagined after his death and during the Elizabethan era and thereby to prove how Thomas More became a point of contest in the period—the contest over political, religious, economic hegemony. When his name was suppressed immediately after his death and mostly up to the Marian reign, his image was often linked to the cruelty of the Catholic inquisition against Protestantism. By contrast, the late Elizabethan period witnessed a rejuvenation of More’s name and image in more positive ways. Sir Thomas More by Anthony Munday and others, presents a unique case in appropriating his name and image commencing in the late-1590s’ politico-religious-economical context of England, and of London in particular. The play, I argue, exemplifies the ways in which More’s name and images were appropriated and adapted for the ideological purposes of nationalism and Protestantism.
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