Toronto: University of Toronto Press, 2019. The repentance of Robert Greene Maister of Artes. Princeton, NJ: Princeton University Press, 2001. Compendiosa totius anatomie delineatio, ære exarate. Princeton, NJ: Princeton University Press, 1984. The Renaissance Hamlet: Issues and Responses in 1600. Toronto: University of Toronto Press, 1988.įrye, Roland Mushat. Cambridge: Cambridge University Press, 2016.Įrasmus, Desiderius.
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The Memory Death Arts in Renaissance England: A Critical Anthology. Cambridge: Cambridge University Press, 2022.
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The Death Arts in Renaissance England: A Critical Anthology. 2005.Įngel, William E., Rory Loughnane, and Grant Williams. Oxford: Oxford University Press, 2002 rpt. Death and Drama in Renaissance England: Shades of Memory. Hatfield, UK: University of Hertfordshire Press, 2005.Įngel, William E. Edited by Jonathan Holmes and Adrian Streete. “Platonism and Bathos in Shakespeare and Other Early Modern Drama.” In Refiguring Mimesis: Representation in Early Modern Literature. New York: Grove Press, 2017.Įgan, Gabriel. Deaths Duell, or, A Consolation to the Soule, Against the Dying Life. Oxford: Oxford University Press, 2011.ĭonne, John. New York: Routledge, 1977.ĭobson, Michael and Stanley Wells (eds.). Death and Burial in Medieval England, 1066–1550. Cambridge: Cambridge University Press, 2019. “Remembering the Dead in Hamlet.” In The Cambridge Companion to Shakespeare and Religion. “Coming to a Head: Ragozine as Pirate Money in Act 4 Scene 3 of Shakespeare’s Measure for Measure.” Cahiers Élisabéthains 89.1 (2016): 83–90.Ĭummings, Brian. Oxford: Oxford University Press, 1997.Ĭrunelle-Vanrigh, Anny. Birth, Marriage, and Death: Ritual, Religion, and the Life-Cycle in Tudor and Stuart England. Cambridge: Polity Press, 2013.Ĭressy, David. The Author’s Hand and the Printer’s Mind. Cambridge: Cambridge University Press, 2015.Ĭhartier, Roger. Monuments and Literary Posterity in Early Modern Drama. London: Arden Shakespeare, 2018.Ĭhalk, Brian. Performing “Hamlet”: Actors in the Modern Age. Ann Arbor, MI: University of Michigan Press, 2016.Ĭroall, Jonathan. Cambridge: Cambridge University Press, 2019.Ĭarlson, Marvin. Cambridge: Cambridge University Press, 2018. Edited by Julie Maxwell and Kate Rumbold. “Quoting Hamlet.” In Shakespeare and Quotation. London: Palgrave Macmillan, 2014.īruster, Douglas. “Good Death in Seventeenth-Century England.” In Death, Ritual, and Bereavement. London: John Murray, 1995.īeier, Lucinda McCray. Dancing on the Grave: Encounters with Death. London: Edwarde Whitchurche, 1547.īarley, Nigel.
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A Treatise of Morall Phylosophie Contaynyng the Sayinges of the Wyse. New York: Vintage Books, 2008.īaldwin, William. The Hour of Our Death: The Cassic History of Western Attitudes Toward Death Over the Last One Thousand Years. Philadelphia, PA: University of Pennsylvania Press, 2014.Īriès, Phillipe. The Omnipresence of Death might be good for a spin now and then, but is hardly able to create some lasting impression.Appleford, Amy. Everything seems to drown in this depressive atmosphere and there is hardly a counter-point or relieve in sight. In case the music on the ep is representative for the forthcoming album, then this might be something really hard to endure. Yet, even though the performance is not bad and the tracks are pretty listenable as well as without graven flaws, the music appears a bit too predictable as well as shallow. Both of the tracks are not very far off from each other and even their length shows some similarities. Doom with death metal and a pretty consistent approach when it comes to the this ep. Whether or not this works is a rather ambivalent topic: they support the music but as the vocals are some sort of growls, it is difficult to see how these two facets work together Mother of Negation.ĭistorted guitars, generally slow in tempo, a thick and massive sound and a somehow dark or even depressive atmosphere is what can be found in the two compositions. Two tracks appear on The Omnipresence of Death and they follow a basic and also predictable approach: dark music, enwrapped in sound samples (beginning/end) which do not only enrich the overall sound and atmosphere but work furthermore more as a transition between the tracks. This ep is supposed to be some sort of an appetizer for the forthcoming album ‘Elend’. Vague glimpses can be caught on the content of the compositions and even though some of them are rather ‘emo’, the aspect of death plays a role as well.
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The title has quite a heavy meaning and in some respect the music or better said the lyrics are able to live up to it.