Literary studies: c 1600 to c 1800 Books

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Book SynopsisShakespeare's poems, aside from the enduring appeal of the Sonnets, are much less familiar today than his plays, despite being enormously popular in his lifetime. This Introduction celebrates the achievement of Shakespeare as a poet, providing students with ways of understanding and enjoying his remarkable poems. It honours the aesthetic and intellectual complexity of the poems without making them seem unapproachably complicated, outlining their exquisite pleasures and absorbing enigmas. Schoenfeldt suggests that today's readers are better able to analyze aspects of the poems that were formerly ignored or the source of scandal - the articulation of a fervent same-sex love, for example, or the incipient racism inherent in a hierarchy of light and dark. By engaging closely with Shakespeare's major poems - 'Venus and Adonis', 'Lucrece', 'The Phoenix and the Turtle', the Sonnets and 'A Lover's Complaint' - the Introduction demonstrates how much these extraordinary poems still have to say tTrade Review"Schoenfeldt's volume has all the merits of a first-rate lecture series. It provides the facts, engages judiciously with current scholarship, and models exacting readings of target texts." --Recent Studies of the English RenaissanceTable of Contents1. Shakespeare and English poetry; 2. Shakespeare's banquet of sense: 'Venus and Adonis'; 3. 'My tongue shall utter all': constraint and complaint in 'Lucrece'; 4. Mysteries of the Sonnets; 5. 'All in war with time': progeny, poetry, and entropy in the Sonnets; 6. Friendship and love, darkness and lust: desire in the Sonnets; 7. Solitary and mutual flames: 'A Lover's Complaint' and 'The Phoenix and the Turtle'; 8. Passionate pilgrims: fantasies of Shakespearean authorship; Further reading.

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Book SynopsisUsing an innovative theory of the significance of the Globe’s stage space, Penny Gay examines As You Like It's presentation of issues of power, sexuality, gender and genre.

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Book SynopsisWell illustrated, accessibly presented, and drawing on a comprehensive range of historical documents, including British, German and other European images, and literary as well as non-literary texts (many previously unconsidered in this context), this study offers the first interdisciplinary gendered assessment of early modern performing itinerant healers (mountebanks, charlatans and quacksalvers). As Katritzky shows, quacks, male or female, combined, in widely varying proportions, three elements: the medical, the itinerant and the theatrical. Above all, they were performers. They used theatricality, in its widest possible sense, to attract customers and to promote and advertise their pharmaceuticals and health care services. Katritzky investigates here the performative aspects of quack marketing and healing methods, and their profound links with the rise of Europeâs professional actresses, fields of enquiry which are only now beginning to attract significant attention from historians of medicine, economics or the theatre. Women, Medicine and Theatre also recovers womenâs roles in the economy of the itinerant quack stage. Women associated with mountebank troupes were medically and theatrically active at every level from major stage celebrities to humble urine sample collectors, but also included sedentary relatives, non-performing assistants, door- and bookkeepers, wardrobe mistresses, prop and costume loaners, landladies, spectators, patrons and clients. Katritzkyâs study of the whole range of women who supported the troupes contextualizes the activities of their male counterparts, and rehabilitates a broad spectrum of diversely occupied women. The strength of this titleâs research method lies in its comparative examination of documents that are generally examined from the point of view of either their performative or their medical aspects, by historians of, respectively, the theatre and medicine. Taken as a whole, these handbills, literary descriptions aTrade Review'Katritzky's main focus is on plays and players, but the author's assiduous research has assembled as much as could be hoped for on the extremely elusive presence of women in early modern performative medicine. This detailed study provides a storehouse of invaluable information, as well as decisive interventions in debates over the nature of early modern theatre.' Margaret Pelling, University of Oxford ’... impressively researched... A brief review can only suggest the wealth of examples and the depth of research that make this 'gendered' history of early modern theatrical practice an indispensable work in the field... the rich cultural context Katritzky provides makes the book a valuable resource for those engaged in more specialized studies.’ Renaissance Quarterly ’M. A. Katritzky's Women, Medicine and Theatre presents a fascinating wealth of visual and textual evidence signally important connections between women's roles in the theatricality of itinerant medical practitioners (mountebanks or quacks), and more literary or professional dramatic practice. ... Offering material that crosses European national borders, with particular focus on the Italian, English and German-speaking traditions, the book is spatially as well as temporally broad in scope, with good reason. ... Indeed, anyone with primary interest in a single national theatre, say in Shakespeare's England, should be attentive to Professor katritzky's evidence pointing toward much more entangled international practices. Her comparative and interdisciplinary approach is both exciting and welcome.’ Cahiers Elisabéthains ’In an era when many scholars seem to do everything they can to avoid archives, this scholar dives into them not only with energy and persistence, but with the tools necessary to evaluate and communicate what she finds. Her bibliographies are treasure troves, especially of things German. She also has amassed a remarkable catalog of visual resources, including many in privaTable of ContentsContents: Introduction: 'Mountebanks, monsters and several beasts': Margaret Cavendish at the Antwerp carnival fair. Part I Performing Medieval Quacks: Quack actresses of 1514; Literary mountebanks I: sex 'n shopping on the medieval religious stage; A quack picture: a key to the appearance of medieval staging? Part II Visual Aspects of Mountebank Activity: Friendship albums and other visual sources; Containers, stages and venues; The troupe; Performative aspects. Part III Marketing Medicine: Medical and commercial activity; Women as healers; Literary mountebanks II: stage quacks of Ben Jonson, Thomas Killigrew, Aphra Behn and Christian Weise; Quack couples: the male-female partnership. Part IV Gendering Tooth-Drawers: Tooth-drawers; Literary mountebanks III: Johann Kuhnau's female tooth-drawer, 1700; A French tooth-drawer: on the stage of Europe's first secular theatre? Part V Commedia dell'Arte Actresses: The inamorata; Comici and buffoni; Italian mixed-gender troupes: Thomas II Platter and Hippolytus Guarinonius; Female stage costume and cross-dressing. Part VI English Comedians in Shakespearean Europe: The Women: English actresses and the rise of the German professional stage; Pre-1650 women associated with the English comedians; The introduction of actresses in German-speaking Europe; Literary mountebanks IV: Johann Beer's flying quacks and mixed-gender 'English' troupe. Bibliography; Index.

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Book SynopsisTwelve essays by distinguished academic Bruce Stovel study Austen in the context of comic novelists.

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Book SynopsisThis is the first publication of a recently discovered account of Ben Jonson's walk to Scotland in 1618. Supported by contextual essays, this unique firsthand narrative provides researchers and graduate students with an invaluable insight into Jonson's life and work, and the social and cultural history of early modern Britain.Table of ContentsIntroduction: Jonson's 'foot voyage' and the Aldersey manuscript; My gossip Jonson his foot voyage and mine into Scotland; Contextual essays; 1. The genres of a walk; 2. Jonson's foot work; 3. Scenes of hospitality; Works cited; Index.

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Book SynopsisClaire Connolly offers a cultural history of the Irish novel in the period between the radical decade of the 1790s and the gaining of Catholic Emancipation in 1829. These decades saw the emergence of a group of talented Irish writers who developed and advanced such innovative forms as the national tale and the historical novel: fictions that took Ireland as their topic and setting and which often imagined its history via domestic plots that addressed wider issues of dispossession and inheritance. Their openness to contemporary politics, as well as to recent historiography, antiquarian scholarship, poetry, song, plays and memoirs, produced a series of notable fictions; marked most of all by their ability to fashion from these resources a new vocabulary of cultural identity. This book extends and enriches the current understanding of Irish Romanticism, blending sympathetic textual analysis of the fiction with careful historical contextualization.Trade Review'… quietly provocative … the book makes an important foundational contribution to the field of Irish Gothic as well as Romantic studies … an exemplary study for scholars working in any language and national tradition.' Fiona Stafford, European Romantic Review'Everywhere in this book we see lines for exciting new developments in Irish literary history … The book will no doubt become a critical touchstone and will helpfully reshape the study of the Irish novel for a long time to come.' Robert Brazeau, Irish Studies Review'Connolly convincingly demonstrates the complexities of Irish Romantic novels in their engagements with Ireland's political union with Britain, and she uses various strategies to exemplify the dynamics between discourses of union and division in these texts … Connolly's work is highly commendable for the wide scope of texts that she incorporates into her argument, her revisionist reading of key works, and her reconsideration of prevalent assumptions about Irish Romantic novelists and their writings.' Marguerite Corporaal, Nineteenth-Century ContextsTable of ContentsPreface; 1. Introduction: fact and fiction; 2. Landscape and map; 3. Love and marriage; 4. Catholics and Protestants; 5. Dead and alive.

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Book SynopsisShakespeare Survey is a yearbook of Shakespeare studies and production which has published the best international scholarship in English since 1948. The theme for Volume 65 is 'A Midsummer Night's Dream'. The complete set of Survey volumes is also available online at http://www.cambridge.org/online/shakespearesurvey.Table of Contents1. 'A local habitation and a name': the origins of Shakespeare's Oberon Laura Aydelotte; 2. 'Wrinkled deep in time': Emily and Arcite in A Midsummer Night's Dream Helen Barr; 3. 'Enter Cælia, the Fairy Queen, in her Night Attire': Shakespeare and the fairies Michael Hattaway; 4. Thinking with fairies: A Midsummer Night's Dream and the problem of belief Jesse Lander; 5. 'India' and the Golden Age in A Midsummer Night's Dream Henry Buchanan; 6. The limits of translation in A Midsummer Night's Dream Michael Saenger; 7. Voice, face, and fascination: the art of physiognomy in A Midsummer Night's Dream Sibylle Baumbach; 8. A Midsummer Night's Dream in illustrated editions, 1838–1918 Stuart Sillars; 9. Balanchine and Titania: love and the elision of history in A Midsummer Night's Dream Laura Levine; 10. A Midsummer Night's Dream on radio: the Oregon Shakespeare Festival's radio series Michael P. Jensen; 11. Benjamin Britten's dreams Russ McDonald; 12. Staging A Midsummer Night's Dream: Peter Hall's productions, 1959–2010 Roger Warren; 13. A Midsummer Night's Dream at the millennium: performance and adaptation Carol Thomas Neely; 14. Shakesqueer, the movie: Were the World Mine and A Midsummer Night's Dream Matt Kozusko; 15. Letter from the chalk face: directing A Midsummer Night's Dream at the Staunton Blackfriars Jacquelyn Bessell; 16. A Dream of campus Andrew James Hartley; 17. The plurality of Shakespeare's Sonnets Paul Edmondson and Stanley Wells; 18. The properties of whiteness: Renaissance Cleopatras from Jodelle to Shakespeare Pascale Aebischer; 19. 'This is the strangers' case': the utopic dissonance of Shakespeare's contribution to Sir Thomas More Margaret Tudeau-Clayton; 20. A collaboration: Shakespeare and Hand C in Sir Thomas More John Jowett; 21. Three's company: alternative histories of London's theatres in the 1590s Holger Schott Syme; 22. Thomas Greene: Stratford-upon-Avon's town clerk and Shakespeare's lodger Robert Bearman; 23. Shakespeare and the Inquisition Brian Cummings; 24. The Cowell manuscript or the first Baconian: MS294 at the University of London K. E. Attar; 25. The spectre of female suffrage in Shakespeare's Revelations by Shakespeare's Spirit Todd Borlik; 26. Shakespeare, word-coining, and the OED Charlotte Brewer; 27. Shakespeare's new words Robert N. Watson; 28. Hamlet in Plettenberg: Carl Schmitt's Shakespeare Andreas Höfele; 29. Behind the red curtain of Verona Beach: Baz Luhrmann's William Shakespeare's Romeo + Juliet Toby Malone; 30. The Royal Shakespeare Company at the Swan: the first twenty-five years Margaret Shewring; 31. Prospero behind bars Curt L. Tofteland and Hal Cobb; 32. Shakespeare performances in England (and Wales) 2011 Carol Chillington Rutter; 33. Professional Shakespeare productions in the British Isles, January–December 2010 James Shaw; 34. This year's contribution to Shakespeare studies: a. Critical studies reviewed by Charlotte Scott; b. Shakespeare in performance reviewed by Russell Jackson; c. Editions and textual studies reviewed by Eric Rasmussen.

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Book SynopsisThe commedia dell''arte, the improvised Italian theatre that dominated the European stage from 1550 to 1750, is arguably the most famous theatre tradition to emerge from Europe in the early modern period. Its celebrated masks have come to symbolize theatre itself and have become part of the European cultural imagination. Over the past twenty years a revolution in commedia dell''arte scholarship has taken place, generated mainly by a number of distinguished Italian scholars. Their work, in which they have radically separated out the myth from the history of the phenomenon remains, however, largely untranslated into English (or any other language). The present volume gathers together these Italian and English-speaking scholars to synthesize for the first time this research for both specialist and non-specialist readers. The book is structured around key topics that span both the early modern period and the twentieth-century reinvention of the commedia dell''arte.Table of ContentsIntroduction: commedia dell'arte: history, myth, reception Daniele Vianello; Part I. Elements: 1. Knots and doubleness: the engine of the Commedia dell'Arte Ferdinando Taviani; 2. Popular traditions, carnival, dance Riccardo Drusi; 3. Notebooks, prologues and scenarios Stefan Hulfeld; 4. Between improvisation and book Piermario Vescovo; Part II. Commedia dell'Arte and Europe: 5. Journeys Siro Ferrone; 6. France Virginia Scott; 7. The Iberian Peninsula María del Valle Ojeda Calvo; 8. German-speaking countries M. A. Katritzky; 9. Eighteenth-century Russia Laurence Senelick; 10. England Robert Henke; 11. Northern Europe Bent Holm; Part III. Social and Cultural Conflicts: 12. Commedia dell'arte and the church Bernadette Majorana; 13. Commedia dell'arte and dominant culture Raimondo Guarino; Part IV. Opera, Music, Dance, Circus and Iconography: 14. Commedia dell'arte in opera and music 1550–1750 Anne MacNeil; 15. From Mozart to Henze Andrea Fabiano; 16. Commedia dell'Arte in dance Stefano Tomassini; 17. The circus and the artist as Saltimbanco Sandra Pietrini; 18. Iconography of the commedia dell'arte Renzo Guardenti; Part V. Commedia dell'Arte from the Avant-Grade to Contemporary Theatre: 19. Stanislavsky and Meyerhold Franco Ruffini; 20. Copeau and the work of the actor Marco Consolini; 21. Staging Gozzi: Meyerhold, Vakhtangov, Brecht, Besson Franco Vazzoler; 22. Staging Goldoni: Reinhardt, Strehler Erika Fischer-Lichte; 23. Eduardo De Filippo and the Mask of Pulcinella Teresa Megale; 24. Dario Fo, Commedia dell'arte and political theatre Paolo Puppa; 25. Commedia dell'arte and experimental theatre Mirella Schino; Conclusion: commedia dell'arte and cultural heritage Christopher B. Balme.

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Book SynopsisLatin was for many centuries the common literary language of Europe, and Latin literature of immense range, stylistic power and social and political significance was produced throughout Europe and beyond from the time of Petrarch (c.1400) well into the eighteenth century. This is the first available work devoted specifically to the enormous wealth and variety of neo-Latin literature, and offers both essential background to the understanding of this material and sixteen chapters by leading scholars which are devoted to individual forms. Each contributor relates a wide range of fascinating but now little-known texts to the handful of more familiar Latin works of the period, such as Thomas More''s Utopia, Milton''s Latin poetry and the works of Petrarch and Erasmus. All Latin is translated throughout the volume.Table of ContentsIntroduction: neo-Latin literature Victoria Moul; Part I. Ideas and Assumptions: 1. Conjuring with the classics: neo-Latin poets and their pagan familiars Yasmin Haskell; 2. Neo-Latin literature and the vernacular Tom Deneire; 3. How the young man should study Latin poetry: neo-Latin literature and early modern education Sarah Knight; 4. The republic of letters: across Europe and beyond Françoise Waquet; Part II. Poetry and Drama: 5. Epigram Robert Cummings; 6. Elegy L. B. T. Houghton; 7. Lyric Julia Haig Gaisser; 8. Verse letters Gesine Manuwald; 9. Verse satire Sari Kivistö; 10. Pastoral Estelle Haan; 11. Didactic poetry Victoria Moul; 12. Epic Paul Gwynne; 13. Drama Nigel Griffin; Part III. Prose: 14. Approaching neo-Latin prose as literature Terence Tunberg; 15. Epistolary writing Jacqueline Glomski; 16. Oratory and declamation Marc van der Poel; 17. Dialogue Virginia Cox; 18. Shorter prose fiction David Marsh; 19. Longer prose fiction Stefan Tilg; 20. Prose satire Joel Relihan; 21. Historiography Felix Mundt; Part IV. Working with Neo-Latin Literature: 22. Using manuscripts and early printed books Craig Kallendorf; 23. Editing neo-Latin literature Keith Sidwell.

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Book SynopsisThe first modern critical edition of A Mirror for Magistrates - a collection of tragic verse narratives compiled by William Baldwin in 1559. This volume is aimed at scholars and advanced students of early modern English literature and history, and undergraduates researching the Mirror's influence on early modern English authors.Table of ContentsIntroduction;, The 1559 Mirror for Magistrates; Appendices.

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Book SynopsisShakespeare Survey is a yearbook of Shakespeare studies and production. Since 1948, the Survey has published the best international scholarship in English and many of its essays have become classics of Shakespeare criticism. Each volume is devoted to a theme, or play, or group of plays; each also contains a section of reviews of that year's textual and critical studies and of the year's major British performances. The theme for Volume 66 is 'Working with Shakespeare', and Tiffany Stern's essay has been selected by the Medieval and Renaissance Drama Society for its Barbara Palmer/Martin Stevens award for best new essay in early drama studies, 2014. The complete set of Survey volumes is also available online at http://www.cambridge.org/online/shakespearesurvey. This fully searchable resource enables users to browse by author, essay and volume, search by play, theme and topic and save and bookmark their results.Trade Review'Tiffany Stern's essay, 'Sermons, Plays and Note-Takers: Hamlet Q1 as a 'Noted' Text', reads like an especially well-written and deftly plotted mystery novel. Taking as her subject the so-called 'bad quarto' of Hamlet, Stern leads the reader through a thoroughly documented and totally compelling rethinking of Q1's origins. [She] persuasively argues that this text is the product of a note-taking scribal audience who employed contemporary notational habits to produce a 'pirated' text for publication … [She] brings to life a new world of early modern performance through descriptions and details that offer many small openings onto the textual culture of the period … this essay not only offers a significant reassessment of Hamlet Q1, but also makes a claim for the cultural importance of note-taking practices in the early modern period more generally.' Medieval and Renaissance Drama SocietyTable of Contents1. Sermons, plays and note-takers: Hamlet Q1 as a 'noted' text Tiffany Stern; 2. Equivocations: reading the Shakespeare/Middleton Macbeth Cordelia Zukerman; 3. The date of Sir Thomas More Hugh Craig; 4. Filming 'the weight of this sad time': Yasujiro Ozu's rereading of King Lear in Tokyo Story (1953) Reiko Oya; 5. Cursing to learn: theatricality and the creation of character in The Tempest David Schalkwyk; 6. Like an Olympian wrestling Richard Wilson; 7. 'Doing Shakespeare': how Shakespeare became a school 'subject' Janet Bottoms; 8. (Mis)advising Shakespeare's players Michael Cordner; 9. Making the work of play Michael Pavelka (in conversation with Carol Chillington Rutter); 10. 'On the wrong track to ourselves': Armin Senser's Shakespeare and the issue of artistic creativity in contemporary German poetry Tobias Döring; 11. 'What country, friends, is this?': Cultural identity and the World Shakespeare Festival Stephen Purcell; 12. Redefining knowledge: an epistemological shift in Shakespeare studies Péter Dávidházi; 13. Shakespeare as presentist John Drakakis; 14. Greater Shakespeare: working, playing and making with Shakespeare Hester Lees-Jeffries; 15. 'A joint and corporate voice': re-working Shakespearean seminars Scott L. Newstok; 16. Shakespeare and the cultures of translation Ton Hoenselaars; 17. Shakespeare's inhumanity Kiernan Ryan; 18. Making something out of 'nothing' in Shakespeare R. S. White; 19. 'A book where one may read strange matters': en-visaging character and emotion on the Shakespearean stage Michael Neill; 20. 'Hear the ambassadors!': Marking Shakespeare's Venice connection Carol Chillington Rutter; 21. 'O, what a sympathy of woe is this': passionate sympathy in Titus Andronicus Richard Meek; 22. Who drew the Jew that Shakespeare knew?: Misericords and medieval Jews in The Merchant Of Venice M. Lindsay Kaplan; 23. 'Imaginary puissance': Shakespearean theatre and the law of agency in Henry V, Twelfth Night and Measure For Measure Erica Sheen; 24. Hamlet and empiricism James Hirsh; 25. 'Let me see what thou hast writ': mapping the Shakespeare–Fletcher working relationship in The Two Noble Kinsmen at the Swan Varsha Panjwani; 26. Shakespeare performances in England (and Wales) 2012 Carol Chillington Rutter; 27. Professional Shakespeare productions in the British Isles, January-December 2011 James Shaw; 28. The year's contribution to Shakespeare studies: 1. Critical studies reviewed by Charlotte Scott; 2. Shakespeare in performance reviewed by Russell Jackson; 3. Editions and textual studies reviewed by Sonia Massai.

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Book SynopsisBy 1800 London had as many theatre seats for sale as the city's population. This was the start of the capital's rise as a centre for performing arts. Worrall brings to life a period of extraordinary theatrical vitality, re-examining the beginnings of celebrity culture amidst a monopolistic commercial theatrical marketplace.Trade Review'Quirky, original, entertaining … liberally packed with fascinating material viewed from unusual perspectives.' The Times Literary Supplement'This book brings groundbreaking research to bear on its discussion of actors, performances, audiences, and playhouses in Britain in the 1780s and 1790s … [a] rich and fascinating study …' Helen M. Burke, Restoration and Eighteenth-Century Theatre ResearchTable of ContentsIntroduction: theatre, performance and social assemblage theory; 1. Theatrical assemblages and theatrical markets; 2. Georgian performance and the assemblage model; 3. Theatrical celebrity as social assemblage: from Garrick to Kean; 4. Celebrity networks: Kean and Siddons; 5. A working theatrical assemblage: 1790s representations of naval conflict; 6. Theatrical assemblage populations: the Turkish ambassador's visits to London playhouses, 1794; 7. Historicising the theatrical assemblage: Marie Antoinette and the theatrical queens; 8. The regulatory assemblage: The Roman Actor and the politics of self-censorship; Conclusion; Appendix: actor-network theory.

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Book SynopsisBoiotia was - next to Athens and Sparta - one of the most important regions of ancient Greece. Albert Schachter, a leading expert on the region, has for many decades pioneered and fostered the exploration of it and its people through his research. His seminal publications have covered all aspects of its history, institutions, cults, and literature from late Mycenaean times to the Roman Empire, revealing a mastery of the epigraphic evidence, archaeological data, and the literary tradition. This volume conveniently brings together twenty-three papers (two previously unpublished, others revised and updated) which display a compelling intellectual coherence and a narrative style refreshingly immune to jargon. All major topics of Boiotian history from early Greece to Roman times are touched upon, and the book can be read as a history of Boiotia, in pieces.Table of ContentsPart I. Introduction: 1. Boiotian beginnings: the creation of an ethnos; Part II. History: Boiotian: 2. Kadmos and the implications of the tradition for Boiotian history; 3. Boiotia in the sixth century BC; 4. The early Boiotoi: from alliance to federation; 5. Politics and personalities in classical Thebes; 6. Tanagra: the geographical and historical context; 7. From hegemony to disaster: Thebes from 362 to 335; 8. Pausanias and Boiotia; Part III. History: Boiotian and Other: 9. The politics of dedication: two Athenian dedications at the sanctuary of Apollo Ptoieus in Boiotia; 10. The seer Tisamenos and the Klytiadai; Part IV. Boiotian Institutions: 11. Gods in the service of the state: the Boiotian experience; 12. Boiotian military elites (with an appendix on the funereal stelai); 13. Three generations of magistrates from Akraiphia; Part V. Literature: 14. Simonides' elegy on Plataia: the occasion of its performance; 15. The singing contest of Kithairon and Helikon: Korinna fr. 654 PMG col. i and ii.1-11: content and context; 16. Ovid and Boiotia; Part VI. Cult: 17. The Daphnephoria of Thebes; 18. Reflections on an inscription from Tanagra; 19. Egyptian cults and local elites in Boiotia; 20. Evolutions of a mystery cult: the Theban Kabiroi; 21. The Mouseia of Thespiai: organization and development; 22. Tilphossa: the site and its cults; 23. A consultation of Trophonios (IG 7.4136).

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Book SynopsisThis collection of interdisciplinary essays by a team of international scholars focuses new attention on Lord Rochester's writings; on their political force and social identity, on the worlds from which they emerged and which they disclose, and not least on their unsettling aesthetic power.Table of Contents1. Lord Rochester in the Restoration world: introduction Matthew C. Augustine and Steven N. Zwicker; 2. John Wilmot and the writing of 'Rochester' Jonathan Sawday; 3. From script to print: marketing Rochester Paul Davis; 4. Trading places: Lord Rochester, the Laureate, and the making of literary reputation Matthew C. Augustine; 5. Lord Rochester: a life in gossip Steven N. Zwicker; 6. Rochester and the satiric underground Nicholas von Maltzahn; 7. Rochester, the theatre, and restoration theatricality David Francis Taylor; 8. Rochester and the play of values Christopher Tilmouth; 9. Sexual and religious libertinism in Restoration England Tim Harris; 10. Sex and sovereignty in Rochester's writing Melissa E. Sanchez; 11. Rochester, Behn, and Enlightenment liberty Ros Ballaster; 12. Unfit to print: Rochester and the poetics of obscenity Tom Jones; 13. The perspective of Rochester's letters Nicholas Fisher; 14. Rochester and rhyme Tom Lockwood.

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Book SynopsisAn innovative account exploring the concepts of 'home' and 'nation' as they developed in Britain between the English Civil War and the Napoleonic Wars. The range of texts and concepts covered by an international team of experts will appeal to a broad spectrum of scholars and students of British literature.Table of Contents1. Introduction A. D. Cousins and Geoffrey Payne; Part I. The English Revolution and the Interregnum: 2. Nation, nature, and poetics: transitions and claspes in Denham's 'Cooper's Hill' and Cavendish's Poems and Fancies L. E. Semler; 3. Home and nation in Andrew Marvell's Bermudas A. D. Cousins; 4. Anne Clifford and Samuel Pepys: diaries and homes Helen Wilcox; 5. Home and away in the poetry of Andrew Marvell and some of his influences and contemporaries Nigel Smith; Part II. Restoration, Glorious Revolution, and Hanoverian Succession: 6. 'Home to our People': nation and kingship in late seventeenth-century political verse Abigail Williams; 7. 'Yet Israel still serves': home and nation in Milton's Samson Agonistes William Walker; 8. 'A thing remote': Defoe and the home in the metropolis and New World Geoffrey Payne; 9. Pope's homes: London, Windsor Forest, and Twickenham Pat Rogers; 10. Samuel Johnson and London Evan Gottlieb; 11. Contesting 'home' in eighteenth-century women's verse Catherine Ingrassia; 12. Home, homeland and the Gothic David Punter; Part III. Revolution in France, Reaction in Britain: 13. Contesting the homeland: Burke and Wollstonecraft Daniel I. O'Neill; 14. Homelands: Blake, Albion, and the French Revolution David Fallon; 15. Jane Austen and the modern home Gary Kelly; 16. 'All things have a home but one': exile and aspiration, pastoral and political in Shelley's The Mask of Anarchy and Keats's 'Ode to a Nightingale' and 'To Autumn' Geoffrey Payne; 17. Sir Walter Scott: home, nation, and the denial of revolution Dani Napton; Guide to further reading.

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Book SynopsisLooking at Shakespeare's depictions of moral deliberation and individual choice in light of Renaissance debates about ethics, this collection illuminates Shakespeare's engagement with the most pressing moral questions of his time. It is of great interest to scholars of Shakespeare and Renaissance studies, and the history of ethics.Table of ContentsIntroduction: rethinking Shakespeare and ethics Patrick Gray and John D. Cox; Part I. Shakespeare and Classical Ethics: 1. Fame, eternity, and Shakespeare's Romans Gordon Braden; 2. Shakespeare and the ethics of laughter Indira Ghose; 3. Aristotelian shame and Christian mortification in Love's Labour's Lost Jane Kingsley-Smith; 4. Shakespeare's Vergil: empathy and The Tempest Leah Whittington; Part II. Shakespeare and Christian Ethics: 5. Shakespeare's prayers John D. Cox; 6. The morality of milk: Shakespeare and the ethics of nursing Beatrice Groves; 7. Hamlet the rough-hewer: moral agency and the consolations of Reformation thought Russell M. Hillier; 8. 'Wrying but a little'? Marriage, punishment, and forgiveness in Cymbeline Robert S. Miola; Part III. Shakespeare and the Ethical Thinking of Montaigne: 9. 'Hide thy selfe': Montaigne, Hamlet, and Epicurean ethics Patrick Gray; 10. Conscience and the god-surrogate in Montaigne and Measure for Measure William M. Hamlin; 11. Shakespeare, Montaigne, and classical reason Peter Holbrook; 12. Madness, proverbial wisdom, and philosophy in King Lear Peter Mack.

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Book SynopsisThis innovative study offers a genuinely groundbreaking approach to Shakespeare in performance. Six chapters work like case studies, each highly creative in terms of visual form and structure - including puzzles, comics and pinboards - inviting the reader into playful engagement with the performative dimensions of Shakespearean production. The case studies include discussion of training and rehearsal processes; the materiality of the performance event and its various embodiments; the intertextual citations through which productions make meaning; and, in response to all of this, the multiplicity and variety of audience perspectives and interpretations. Conkie's production choices range from original practices to politicised adaptations, small-scale workshops to multimedia spectacles, offering inventive analyses of what Shakespeare might mean, or can be made to mean, at particular times and in specific places, at the start of the twenty-first century.Trade Review'This is an ambitious and innovative book, which breaks genuinely new ground in Shakespeare performance studies, and which will make a significant contribution to the field … There are plenty of Shakespeareans who work practically, and many who work in conversation with professional practitioners, but relatively few who subject this experience to the kind of searching interrogation that is found here … This is a terrifically enjoyable and provocative read, one that suggests new avenues of enquiry and new ways of navigating them.' Robert Shaughnessy, University of KentTable of ContentsIntroduction; 1. Materialising Shakespeare; 2. Sudoku Shakespeare; 3. Red button Shakespeare; 4. Graphic Shakespeare with Bernard Caleo; 5. Engaging Shakespeare; 6. Ghosting Shakespeare; Conclusion; Bibliography; Index.

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Book SynopsisFor most of the 1590s, the Admiral''s Men were the main competitors of Shakespeare''s company in the London theatres. Not only did they stage old plays by dramatists such as Christopher Marlowe and Thomas Kyd: their playwrights invented the genres of humours comedy (with An Humorous Day''s Mirth) and city comedy (with Englishmen for My Money), while other new plays such as A Knack to Know an Honest Man and The Downfall of Robert, Earl of Huntingdon were important influences on Shakespeare. This is the first book to read the Admiral''s repertory against Shakespeare''s plays of the 1590s, showing both how Shakespeare drew on their innovations and how his plays influenced Admiral''s dramatists in turn. Shedding new light on well-known plays and offering detailed analysis of less familiar ones, it offers a fresh perspective on the dramatic culture of the 1590s.Trade Review'Tom Rutter's book on the Admiral's Men and their repertoire does an admirable job of detailing the complementary relationships between London stage companies of the time.' Paul Innes, Modern Language Review'… a carefully deliberated set of studies, undogmatic, alert to fine detail and, therefore, quietly enriching.' John Jowett, Cahiers Élisabéthains'… offers a valuable contribution both to theatre history and to dramatic criticism …' Tracey Hill, Renaissance Studies'By suggesting that Shakespeare was continually responding to theatrical development, Tom Rutter provides a layered and nuanced idea of what a Shakespearean 'source' - or equally a Shakespearean influence - might in fact be, and expands the field as a result …' Tiffany Stern, The Times Literary Supplement'Rutter displays deep knowledge of the plays he discusses and of the scholarship that precedes him. His book, lucid and economical in style, introduces new perspectives on the plays and lays out numerous intertextual connections. The book will have a long shelf life as required reading for students and scholars of Renaissance drama …' Donna B. Hamilton, Early TheatreTable of ContentsAcknowledgements; Note on dating; Introduction; 1. 'How might we make a famous comedie': from A Knack to Know an Honest Man to The Merchant of Venice; 2 'Hobgoblins abroad': from Doctor Faustus to A Midsummer Night's Dream; 3. 'I speak of Africa and golden joys': Henry IV and the Stukeley plays; 4. 'Sundrie variable and pleasing humors': new comedies, 1597–8; 5. 'Nor pure religion by their lips profaned': Oldcastle, Robin Hood, and As You Like It; Conclusion; Bibliography; Index.

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Book SynopsisWhat did childhood mean in early modern England? To answer this question, this book examines two key contemporary institutions: the school and the stage. The rise of grammar schools and universities, and of the professional stage featuring boy actors, reflect the culture''s massive investment in children. In this collection, an international group of well-respected scholars examines how the representation of children by major playwrights and poets reflected the period''s educational and cultural values. This book contains chapters that range from Shakespeare and Ben Jonson to the contemporary plays of Tom Stoppard, and that explore childhood in relation to classical humanism, medicine, art, and psychology, revealing how early modern performance and educational practices produced attitudes to childhood that still resonate to this day.Trade Review'Childhood, Education, and the Stage in Early Modern England, edited by Richard Preiss and Deanne Williams, was one of the best collections of essays I read this year, drawing on recent critical interest in children's literature, and in the cultural history of children more broadly, to write new chapters on the theatrical history of the period, to redirect attention to the place of education in early modern society, and in this way to illuminate the complex thematic place that children occupy in the dramatic imagination of Shakespeare and his contemporaries.' SEL Studies in English Literature 1500-1900'This volume makes a valuable contribution to the field of early modern childhood studies generally, and Renaissance drama more specifically, and paves the way for further work.' Katie Knowles, The Review of English Studies'… a rounded, impressively researched picture of children's varying roles in the realities and imaginaries of the period, shining a welcome light into several unchecked corners of this increasingly crowded field. Taken either separately or as a whole, the contributors pave the way for countless areas of future scholarly endeavour, establishing new directions and initiating conversations which, like the early modern children on whom they centre, are filled to the brim with exciting potential.' Harry R. McCarthy, Early Theatre'The diversity of perspectives gives the volume multiple points of entry, which should appeal to readers from different disciplinary backgrounds. Students interested in the history of childhood in the early modern period, as well as those interested in the history of performing children more directly, will find much to admire here.' Marlis Schweitzer, Childhood in the Past'[This] wonderful edited collection brings together three major discourses - childhood, education, and theater - to demonstrate how these concepts 'grew up together in the early modern period' and to provide a 'new view of the literary and the social meaning of the young in early modern England'.' Edel Lamb, Renaissance Quarterly'The essays in the volume are consistently excellent. Each is learned, meticulous, and original, making the volume as a whole a substantial contribution to scholarship, and individual essays offer valuable interventions in a range of fields including Shakespeare, Milton, and Marvell studies, and the history of the theater. … scholars with many different preoccupations will find it repays their attention.' Elizabeth Hanson, Journal of the History of Childhood and YouthTable of ContentsPart I. Shakespearean Childhoods: 1. Hamlet's boyhood Seth Lerer; 2. The traffic in children: shipwrecked Shakespeare, precarious Pericles Joseph Campana; 3. Incapable and shallow innocents: mourning Shakespeare's children in Richard III and The Winter's Tale Charlotte Scott; Part II. Beyond the Boy Actor: 4. Speaking like a child: staging children's speech in early modern drama Lucy Munro; 5. Shakespeare versus Blackfriars: satiric comedy, domestic tragedy, and the boy actor in Othello Bart Van Es; 6. Cupid's metamorphosis: John Lyly's Love's Metamorphosis and the return of the children's playing companies Bastian Kuhl; Part III. Girls and Boys: 7. The further adventures of Ganymede Stephen Orgel; 8. Chastity, speech, and the girl masquer Deanne Williams; 9. Milton and female perspiration Douglas Trevor; Part IV. Afterlives: 10. 'Too green/yet for lust, but not for love': Andrew Marvell and the invention of children's literature Blaine Greteman; 11. All Macbeth's sons James J. Marino; 12. Modern retrospectives: childhood and education in Tom Stoppard's Shakespearean plays Elizabeth Pentland.

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Book SynopsisEdmund Spenser''s poetry remains an indispensable touchstone of English literary history. Yet for modern readers his deliberate use of archaic language and his allegorical mode of writing can become barriers to understanding his poetry. This volume of thirty-seven essays, written by distinguished scholars, offers a rich introduction to the literary, political and religious contexts that shaped Spenser''s poetry, including the environment in which he lived, the genres he drew upon, and the influences that helped to fashion his art. The collection reveals the multiple personae that Spenser constructs within his work: to read Spenser is to read a rich archive of literary forms, and this volume provides the contexts in which to do so. A reading list at the end of the volume will prove invaluable to further study.Table of ContentsIntroduction Andrew Escobedo; Part I. Spenser's Environment: 1. Pedagogy, education, and early career Andrew Wallace; 2. Laureate career-fashioning William A. Oram; 3. Patrons Richard McCabe; 4. Church controversy Gregory Kneidel; 5. Figures of Elizabeth Anna Riehl Bertolet; 6. Publication and the book marketplace Andrew Zurcher; 7. Colonialism and the New World Brian Lockey; 8. Colonialism and Irish plantation Thomas Herron; 9. Spenser's Irish circle Willy Maley; 10. Land, boundaries, and borders Philip Schwyzer; Part II. Genre and Craft: 11. Epic David Quint; 12. Pastoral Katherine Little; 13. Romance Clare Kinney; 14. The Bible and biblical hermeneutics Jamie Ferguson; 15. Allegory: theory and practice Judith H. Anderson; 16. Complaint and satire William Kerwinl; 17. Renaissance literary theory Gordon Teskey; 18. Renaissance rhetorical theory Michael Hetherington; 19. Poetry and the Commonwealth Cathy Shrank; 20. Poetical history John E. Curran, Jr; 21. Premodern literary character Andrew Escobedo; 22. Prosody Paul J. Hecht; Part III. Influences and Analogues: 23. Virgil David Scott Wilson-Okamura; 24. Ovid Syrithe Pugh; 25. Petrarch Patrick Cheney; 26. Chaucer Craig A. Berry; 27. The Sidney circle Mary Ellen Lamb; 28. Spenser's French connection Anne Lake Prescott; 29. Plato and Platonism William Junker; 30. Aristotle and the virtues Joe Moshenska; 31. Protestant theology and devotion Beth Quitslund; 32. Emblem and iconography Sarah Howe; 33. Saints, legends, and calendars Susannah Brietz Monta; 34. Cosmology and cosmography Ayesha Ramachandran; 35. Early modern ecology Julian Yates; 36. Sex and eroticism in the Renaissance Melissa E. Sanchez; 37. Gender in the 1590 Faerie Queene Kimberly Anne Coles; Further reading; Index.

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Book SynopsisShakespeare Survey is a yearbook of Shakespeare studies and production which has published the best international scholarship in English since 1948. The theme for Volume 68 is 'Shakespeare, Origins and Originality'. The complete set of Survey volumes is also available online at http://www.cambridge.org/online/shakespearesurvey.Table of Contents1. Shakespeare's anecdotal character Margreta de Grazia; 2. What is a source? Or, how Shakespeare read His Marlowe Laurie Maguire and Emma Smith; 3. Imitation or collaboration? Marlowe and the early Shakespeare canon Gary Taylor and John V. Nance; 4. 'O Jephthah, judge of Israel': from original to accreted meanings in Hamlet's allusion Péter Dávidházi; 5. The elephants' graveyard revisited: Shakespeare at work in Antony and Cleopatra, Romeo and Juliet and All's Well That Ends Well Catherine Belsey; 6. 'Every like is not the same': translating Shakespeare in Spanish today Alfredo Michel Modenessi; 7. Reading originals by the light of translations Tom Cheesman; 8. 'My name is Will': Shakespeare's sonnets and autobiography Stanley Wells; 9. Tracings and data in The Tempest: author, world and representation Janet Clare; 10. Shakespearean gesture: narrative and iconography Farah Karim-Cooper; 11. The origin of the late Renaissance dramatic convention of self-addressed speech James Hirsh; 12. Reading in their present: early readers and the origins of Shakespearian appropriation Jean-Christophe Mayer; 13. Shakespeare out of time (or, Hugo takes dictation from the beyond) Ruth Morse; 14. Betrayal, derail, or a thin veil: the myth of origin Bi-qi Beatrice Lei; 15. Global Shakespeares, affective histories, cultural memories Jyotsna G. Singh and Abdulhamit Arvas; 16. Spinach and tobacco: making Shakespearian unoriginals Peter Holland; 17. Ren Fest Shakespeare: the cosplay Bard Andrew James Hartley; 18. 'Dead as earth': contemporary topicality and myths of origin in King Lear and The Shadow King Kate Flaherty; 19. Shakespeare and the idea of national theatres Michael Dobson; 20. John Rice and the boys of the Jacobean King's Men David Kathman; 21. Shakespeare's Irish lives: the politics of biography Andrew Murphy; 22. Shakespeare in blockaded Berlin: the 1948 'Elizabethan Festival' Bettina Boecker; 23. Connecting the Globe: actors, audience and entrainment Robert Shaughnessy; 24. 'Freetown!': Shakespeare and social flourishing Ewan Fernie; 25. We'll always have Paris: the third household and the 'bed of death' in Romeo and Juliet Nicholas Crawford; 26. The 'serpent of old Nile': Cleopatra and the pragmatics of reported speech Jelena Marelj; 27. 'This insubstantial pageant faded': the drama of semiotic anxiety in The Tempest Lynn Forest-Hill; 28. Shakespeare performances in England 2014 Carol Chillington Rutter; 29. Professional Shakespeare productions in the British Isles, January–December 2013 James Shaw; The year's contribution to Shakespeare studies: 1. Critical studies Charlotte Scott; 2. Shakespeare in performance Russell Jackson; 3. Editions and textual studies Peter Kirwan.

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Book SynopsisRe-evaluating the relationship between Renaissance dramatists and literary posterity, this book centres on the question of how writers attempted to cope with mortality, with a particular focus on drama and the building of monuments. It will interest scholars and upper-level students of Renaissance drama, memory studies, early modern theatre, and print history.Trade Review'This is at once an admirable study of the paradoxes of memorialization in several important Renaissance dramatic texts, and a significant intervention in the contemporary critical conversation.' Clara Calvo, Universidad de Murcia, SpainTable of ContentsIntroduction: 'raptures of futurity'; 1. 'Let all things end': Marlowe's immortality; 2. Jonson's textual monument; 3. Webster's 'worthyest monument': the problem of posterity in The Duchess of Malfi; 4. 'Mocking life': preemptive commemoration in The Winter's Tale; 5. Fletcher's future: dynasty and collaborative posterity in Henry VIII; Coda: what they hath left us; Select bibliography; Index.

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Book SynopsisThis book explores early modern ideas of chastity and their cultural, political, medical, moral and theological applications, demonstrating how early Stuart thinking on chastity governed even the construction of different literary genres. It will appeal to scholars of early modern literature, theatre, political, medical and cultural history, and gender studies.Table of ContentsIntroduction; 1. Unchastity in Shakespeare's The Winter's Tale, Caroline court performance and theological dispute; 2. Chastity, medical controversy and the theatre of John Ford; 3. Chastity, William Harvey's demonstrations and court ceremony; 4. Marian chastity: Caroline masques and Henrietta Maria's chaste births; 5. Protestant chastity: the language of resistance in Milton's 'A Maske' and A Maske; Conclusion; Bibliography; Index.

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Book SynopsisSamuel Richardson (1689â1761), renowned English novelist and master printer, was also a prolific letter writer. The Cambridge Edition of the Correspondence of Samuel Richardson is the first complete edition of his letters. These three volumes contain his correspondence, much of it published for the first time, with two fascinating women: Dorothy, Lady Bradshaigh (1705â85) and her sister Elizabeth, Lady Echlin (1704â82). Lady Bradshaigh was Richardson's most prolific and important correspondent, challenging him about a range of issues, literary and otherwise, including his intentions for Clarissa and Sir Charles Grandison, in an iconoclastic style. Lady Echlin lived in Ireland for much of her life and provided Richardson with information on Irish issues, including the Dublin editions of his novels. The scholarly apparatus in this volume furnishes a wealth of material about these women's lives and their milieu, affording many insights into eighteenth-century English and Irish social and

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Book SynopsisEdmund Spenser''s epic poem The Faerie Queene (15906) occupied an important place in eighteenth-century culture. Spenser influenced almost every major writer of the century, from Alexander Pope to William Wordsworth. What was it like to read Spenser in the eighteenth century? Who made Spenserian books, and how did their owners use and interpret them? The first comprehensive study of all of the eighteenth-century editions of Edmund Spenser addresses these questions through bibliographical analysis, and through examination of the history of the book and of eighteenth-century literature and culture. Within these contexts, Hazel Wilkinson provides new information about the production, contents, texts, and reception of the eighteenth-century editions of Spenser, to illuminate how his cultural presence became so far-reaching. With each chapter structured around a major edition of Spenser''s work, this volume provides a timely addition to arguments about the nature of literary history and the growing cult of great writers of the past.Trade Review'A crucial reminder that literary critics and historians alike have much to learn from the study of bibliography and the history of the book when done, as it is here, with evident care, admirable precision, and infectious enthusiasm for its subject.' N. K. Sugimura, The Library'… a distinguished and learned book … Wilkinson deploys a formidable range of book historian's skills, allied to a sophisticated awareness of eighteenth-century culture … a serious piece of scholarship … that has been skilfully fashioned into a good story.' The Times Literary Supplement'… a tour de force in bibliographical analysis … The discoveries made are too numerous to count … they add considerably to the depth and breadth of our knowledge of Spenser's reception in the eighteenth century.' David Hill Racliffe, The Spenser (www.english.cam.ac.uk/spenseronline)'Wilkinson's book … should inspire more scholars to bridge the gap between cultural history and bibliography … it will be exciting to see how much more we learn about eighteenth-century reprints of poetry because of the new ground broken in Wilkinson's book.' J. P. Ascher, Script & Print'Hazel Wilkinson argues that The Faerie Queene was the original unread classic: the emblematic textual commodity of an age in which book ownership expanded from the domain of aristocrats and scholars to become a bourgeois expression of taste … Wilkinson's project traces that Spenserian affect-at once stately and fanciful, imperially grand and appealingly gothic-across the whole of eighteenth-century English culture, from poetry and fiction to architecture, theater, political propaganda, sculpture, painting, and landscape gardening.' Catherine Nicholson, New York Review of BooksTable of ContentsList of abbreviations; List of illustrations; Acknowledgments; Introduction. 'The Wits have sent for the Book': (non-)reading, and Spenserian books before 1700; 1. Spenser the Whig: John Hughes's Clubbable Edition, 1715; 2. Miscellaneous Spenser: verse miscellanies and miscellaneous culture, 1716–50; 3. Spenser illustrated: Thomas Birch's 1751 Edition; 4. Spenser annotated: two scholarly editions, 1758–9; 5. Spenser and the public domain: the Scottish Publishers' series, 1778–95; Appendix A: checklist of the eighteenth-century editions of Edmund Spenser; List of works cited; Index.

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Book SynopsisDid Shakespeare write Shakespeare? The authorship question has been much treated in works of fiction, film and television, provoking interest all over the world. Sceptics have proposed many candidates as the author of Shakespeare''s works, including Francis Bacon, Christopher Marlowe and Edward De Vere, the seventeenth Earl of Oxford. But why and how did the authorship question arise and what does surviving evidence offer in answer to it? This authoritative, accessible and frequently entertaining book sets the debate in its historical context and provides an account of its main protagonists and their theories. Presenting the authorship of Shakespeare''s works in relation to historiography, psychology and literary theory, twenty-three distinguished scholars reposition and develop the discussion. The book explores the issues in the light of biographical, textual and bibliographical evidence to bring fresh perspectives to an intriguing cultural phenomenon.Trade Review'Until now no book has provided the comprehensive evidence necessary to satisfy those 'Reasonable Doubters'.' James Shapiro, Columbia University, and author of Contested Will: Who Wrote Shakespeare?'The Shakespeare debate has never been hotter.' London Evening Standard'This book helpfully pulls together irrefutable evidence that Shakespeare really was Shakespeare.' New Statesman'Well conceived and energetic.' The Times Literary Supplement'… salutary …' Standpoint'Shakespeare Beyond Doubt shows, once more, that the fickle authorship controversy still exists not because there is no evidence that Shakespeare was Shakespeare but because anti-Shakespeareans refuse to acknowledge it and prefer the creative route of constructing an imaginary and speculative truth. History does not work like that. It is not a Hollywood movie.' The Huffington Post'Thorough, rigorous, scholarly, and a lot of fun.' History Today'The range of evidence, from dialect, through manuscript analysis, to stagecraft, makes it a wonderfully rounded introduction to the period, as well as to the playwright.' Judith Flanders, The Times Literary Supplement'This excellent collection, edited by Paul Edmondson and Stanley Wells, assumes that it is possible to engage with the doubters in an honest, honourable, and constructive dialogue.' Quarto'… a most useful volume …' The New Criterion'The achievement here is substantial. Edmondson and Wells have curated an impressive collection that leaves few stones unturned and sets out a weighty case that defies easy rebuttal.' Cahiers Élisabéthains'All the essays are brief and accessible. Often summarising their own groundbreaking research, the contributors accomplish a two-fold task: they expose the feebleness of the anti-Shakespeareans' contentions and simultaneously provide accounts of the most recent developments in various branches of Shakespeare studies, whose scope and interest go well beyond the authorship question.' Laura Talarico, Memoria di Shakespeare: A Journal of Shakespearean Studies'The volume's distinguished editors, Paul Edmondson and Stanley Wells, have assembled a tight volume that both addresses the questions at the heart of the so-called authorship controversy and discusses the phenomenon in critically sophisticated ways.' Curtis Perry, SEL: Studies in English Literature 1500–1900Table of ContentsGeneral introduction Paul Edmondson and Stanley Wells; Part I. Sceptics: Introduction to Part One Paul Edmondson and Stanley Wells; 1. The unreadable Delia Bacon Graham Holderness; 2. The case for Bacon Alan Stewart; 3. The case for Marlowe Charles Nicholl; 4. The life and theatrical interests of Edward de Vere, 17th Earl of Oxford Alan H. Nelson; 5. The unusual suspects Matt Kubus; Part II. Shakespeare as Author: Introduction to Part Two Paul Edmondson and Stanley Wells; 6. Theorizing Shakespeare's authorship Andrew Hadfield; 7. Allusions to Shakespeare to 1642 Stanley Wells; 8. Shakespeare as collaborator John Jowett; 9. Authorship and the evidence of stylometrics MacDonald P. Jackson; 10. What does textual evidence reveal about the author? James Mardock and Eric Rasmussen; 11. Shakespeare and Warwickshire David Kathman; 12. Shakespeare and school Carol Chillington Rutter; 13. Shakespeare tells lies Barbara Everett; Part III. A Cultural Phenomenon: Did Shakespeare Write Shakespeare?: Introduction to Part Three Paul Edmondson and Stanley Wells; 14. 'This palpable device': authorship and conspiracy in Shakespeare's life Kathleen E. McLuskie; 15. Amateurs and professionals: regendering Bacon Andrew Murphy; 16. Fictional treatments of Shakespeare's authorship Paul Franssen; 17. The declaration of reasonable doubt Stuart Hampton-Reeves; 18. 'There won't be puppets, will there?': 'Heroic' authorship and the cultural politics of Anonymous Douglas M. Lanier; 19. 'The Shakespeare establishment' and the Shakespeare authorship discussion Paul Edmondson; Afterword James Shapiro; A selected reading list Hardy M. Cook.

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Book SynopsisThe New Milton Criticism seeks to emphasize ambivalence and discontinuity in Milton''s work and interrogate the assumptions and certainties in previous Milton scholarship. Contributors to the volume move Milton''s open-ended poetics to the centre of Milton studies by showing how analysing irresolvable questions religious, philosophical and literary critical transforms interpretation and enriches appreciation of his work. The New Milton Criticism encourages scholars to embrace uncertainties in his writings rather than attempt to explain them away. Twelve critics from a range of countries, approaches and methodologies explore these questions in these new readings of Paradise Lost and other works. Sure to become a focus of debate and controversy in the field, this volume is a truly original contribution to early modern studies.Trade Review'A collection of largely embracing essays, studded with bright little insights into particular passages, and the 'against-the-grain' feel of (almost) the entire book will surely have warmed the hearts of its contributors.' William Poole, Milton QuarterlyTable of ContentsIntroduction: paradigms lost, paradigms found: the new Milton criticism Peter C. Herman and Elizabeth Sauer; Part I. Theodicies: 1. Milton's fetters, or, why Eden is better than heaven Richard Strier; 2. 'Whose fault, whose but his own?': Paradise Lost, contributory negligence, and the problem of cause Peter C. Herman; 3. The political theology of Milton's heaven John Rogers; 4. Meanwhile: (un)making time in Paradise Lost Judith Scherer Herz; 5. The gnostic Milton: salvation and divine similitude in Paradise Regained Michael Bryson; 6. The discontents with the drama of regeneration Elizabeth Sauer; Part II. Critical Receptions: 7. Against fescues and ferulas: personal affront and individual liberty in Milton's prose Christopher D'Addario; 8. Disruptive partners: Milton and seventeenth-century women writers Shannon Miller; 9. Eve and the ironic theodicy of the new Milton criticism Thomas Festa; 10. Denis Saurat, and the old new Milton criticism Jeffrey Shoulson; 11. The poverty of context: Cambridge School history and the new Milton criticism William Kolbrener; 12. Afterword Joseph Wittreich; Index.

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Book SynopsisProviding an account of how Restoration plays were written, performed, printed, adapted and revived for modern audiences, this accessible and engaging book is of great interest to undergraduate and non-specialist readers of theatre studies, Restoration drama and English literature.Trade Review'In addition to discussions of a generous selection of plays, Roberts provides students with succinct, informative and well-paced accounts of the personnel and material circumstances of Restoration Theatre, including the actors, the managers, the theatres and the growth of print culture. There is much to admire here.' Derek Hughes, University of Aberdeen'[Roberts'] theatrical primer will be a welcome addition to any bookshelf for teachers of later seventeenth-century drama. The book's successive chapters cover almost every imaginable topic. … Roberts is particularly good at bridging his close readings of individual plays with the political, social, financial, commercial, managerial, and professional worlds these works circulated in, were shaped by, and shaped themselves.' Andrew Benjamin Bricker, Renaissance and ReformationTable of ContentsList of figures; Preface; 1. Regime change theatre; 2. The life cycle of the Restoration play; 3. Playwrights; 4. Companies; 5. Actors; 6. Playhouses; 7. Audiences and critics; 8. Texts and publishers; 9. Revivals and adaptations; Further reading; Timeline; Index.

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Book SynopsisThis book examines the many and varied uses of apocalyptic and anti-Catholic language in seventeenth-century English drama. Adrian Streete argues that this rhetoric is not simply an expression of religious bigotry, nor is it only deployed at moments of political crisis. Rather, it is an adaptable and flexible language with national and international implications. It offers a measure of cohesion and order in a volatile century. By rethinking the relationship between theatre, theology and polemic, Streete shows how playwrights exploited these connections for a diverse range of political ends. Chapters focus on playwrights like Marston, Middleton, Massinger, Shirley, Dryden and Lee, and on a range of topics including imperialism, reason of state, commerce, prostitution, resistance, prophecy, church reform and liberty. Drawing on important recent work in religious and political history, this is a major re-interpretation of how and why religious ideas are debated in the early modern theatreTrade Review'Its comprehensiveness is staggering: en route to close reading particular plays, Streete provides numerous examples and quotations from a variety of contemporaneous plays, poems, speeches, and sermons, making it the most crossgeneric monograph this reader has seen and enjoyed. Streete's sensitivity and command of early modern culture is unparalleled … Streete's ability to trace ripples of fear through his encyclopaedic grasp of the period's publishing history makes his argument virtually airtight.' Kyle Sebastian Vitale, The Review of English Studies'A finely detailed and instructive study of how political and religious discourses are reconfigured in the language, plot and personation of drama … an excellent resource that will propel further scholarly interest.' Daniel Cattell, The Seventeenth Century'… this is a major work of early modern scholarship and it will prove to be invaluable to anyone working in the fields of religious controversy, religio-political drama, the wider religious and political culture of seventeenth-century Britain, or Protestant Britain's relationship with its Protestant and Roman Catholic neighbours and with the cross-denominational application of apocalyptic thought.' Paul Quinn, British Catholic History'Apocalypse and Anti-Catholicism makes a good companion piece to the same author's earlier study of Protestantism and Drama in Early Modern England (Cambridge, 2009). Streete has carved out a special niche for himself in this field.' R. C. Richardson, Literature & HistoryTable of ContentsIntroduction; 1. Anti-Christ and the whore in early modern England – cultures of interpretation; 2. 'What news from Babylon?' Marston's The Dutch Courtesan (1605) and the Spanish peace; 3. 'Mere idolatry'? Resistance and Rome in Middleton's The Lady's Tragedy (1610); 4. 'Occultus Rex': Caroline politics and imperial kingship in Massinger's Believe as You List (1631); 5. 'Purple Pride' – war, episcopacy, and Shirley's The Cardinal (1641); 6. 'Rebellion Orthodox' – arbitrary rule and liberty in Dryden and Lee's The Duke of Guise (1682); Conclusion.

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Book SynopsisShakespeare and Emotion devotes sustained attention to the emotions as a novel way of exploring Shakespeare''s works in their original contexts. A variety of disciplinary approaches drawn from literary, theatrical, historical, cultural and film studies brings the recent upsurge of interest in affect into conversation with some of the most urgent debates in Shakespeare studies. The volume provides both a comprehensive account of the current state of scholarship and a speculative forum for new research. Its chapters outline some important contexts for understanding Shakespeare''s creativity through an emotional lens from religion, rhetoric, and medicine, to language, acting and Bollywood and offer a range of case studies which reveal particular emotions at work. Considering emotional and passionate experience as an animating and sometimes alienating force within the plays and poems, the volume highlights the continuing importance of Shakespeare today: for our sense of who we are and whTable of ContentsIntroduction Katharine A. Craik; Part I. Contexts: 1. Rhetoric: Titus Andronicus, Julius Caesar Neil Rhodes; 2. Medicine: King Lear, Macbeth, The Tempest Elizabeth D. Harvey; 3. Religion: Henry VI, Henry IV, Henry V Elizabeth Williamson; 4. Character: As You Like It, A Midsummer Night's Dream Robert White; 5. Inheritance and Innovation: Richard III, 3 Henry VI, Richard II, The Merchant of Venice Christopher Tilmouth; 6. Communities: Julius Caesar Gail Paster; 7. Audiences: Much Ado about Nothing, Measure for Measure Tanya Pollard; 8. Acting: The Taming of the Shrew, Coriolanus Bridget Escolme; 9. Bollywood: Macbeth, Othello Melissa Croteau; 10. Language: Macbeth, King Lear Philip Davis; 11. Emotional Labour: Hamlet Ross Knecht; 12. Passionate Shakespeare Peter Holbrook; Part II. Emotions: 13. Fear: Macbeth, Othello Toria Johnson; 14. Grief: Hamlet Erin Sullivan; 15. Sympathy: Titus Andronicus, The Comedy of Errors, Romeo and Juliet Richard Meek; 16. Shame: A Lover's Complaint, Coriolanus, The Rape of Lucrece Lesel Dawson; 17. Anger: Titus Andronicus, Timon of Athens Gwynne Kennedy; 18. Pride: Coriolanus Indira Ghose; 19. Happiness: Othello, I Henry IV, Antony and Cleopatra Richard Strier; 20. Love: Sonnets, As You Like It, A Midsummer Night's Dream David Schalkwyk; 21. Nostalgia: Richard II, Henry V, Henry VI Hester Lees-Jeffries; 22. Wonder: Pericles, The Tempest, 'The Phoenix and the Turtle' Tom Bishop; 23. Confusion: Cymbeline, Merchant of Venice, The Winter's Tale Timothy M. Harrison.

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Book SynopsisWhat has been the appeal of Anne Hathaway, both globally and temporally, over the past four hundred years? Why does she continue to be reinterpreted and reshaped? Imagining Shakespeare''s Wife examines representations of Hathaway, from the earliest depictions and details in the eighteenth century, to contemporary portrayals in theatre, biographies and novels. Residing in the nexus between Shakespeare''s life and works, Hathaway has been constructed to explain the women in the plays but also composed from the material in the plays. Presenting the very first cultural history of Hathaway, Katherine Scheil offers a richly original study that uncovers how the material circumstances of history affect the later reconstruction of lives.Trade Review'[It is to] Scheil's credit that while she presents and discusses these myriad Annes, she always keeps the reader aware of the true Anne, the one who we cannot know, who is impossible to know, but who deserves to be acknowledged simply because she is human. Highly recommend.' The Fish Shelf (www.fishshelf.blogspot.co.uk)'For over two centuries, scholars and biographers have sought to pluck out the heart of the mystery of Anne Hathaway and her marriage to William Shakespeare. As Katherine West Scheil brilliantly shows in these pages, Anne Hathaway has variously been depicted as supportive, adulterous, independent, doting, and predatory (portrayals that reveal much about the critical tradition and the obsessions of those who have long maligned her). A fascinating and timely work of cultural history.' James Shapiro, author of 1599: A Year in the Life of William Shakespeare'Loyal wife and dutiful housekeeper? Youthful folly and life-long burden? Muse or mischief maker? This comprehensive study fascinatingly charts the fluctuating attempts to flesh out the life records of Shakespeare's wife and the story of their lives both together and apart.' Sir Stanley Wells, CBE, Honorary President, The Shakespeare Birthplace Trust'… there is a double pleasure to Scheil's generously open book that is keenly aware of the limitations of academic writing … It is not only a history of Anne Hathaway and Shakespearean scholarship, but also the change in cultural attitudes and ways of reading since Hathaway's death.' Edward Behrens, Globe Magazine'Drawing on old biographies, novels and plays, Katherine West Scheil documents how for more than 200 years Anne Hathaway has been used as a keyhole through which to spy on the playwright as husband and lover. Her review of these varying interpretations demonstrate that Anne has been distorted to fit the Shakespeare each writer or era wanted to see.' Alex Colville, The Spectator'… fairly easy to read and contains a lot of great analysis about the ways Anne Hathaway has been interpreted throughout history. … if you want to know more about the Bard and his wife, this is a book to read.' Inside the Mind of a Bibliophile Blog (allsortsofbooks.blogspot.com)'As Scheil observes, there is no progress from misogyny to idealization in literary treatments of the literary marriage, but it has proved surprisingly rich as an inspiration.' Lois Potter, The Times Literary Supplement'Scheil's careful combing of literature for fictionalized Hathaways offers a rich index for graduate students and advanced scholars alike.' Horacio Sierra, Early Modern Women: An Interdisciplinary JournalTable of ContentsPreface; 1. Origins; 2. Forging the Shakespeare marriage: Anne Hathaway in the eighteenth and nineteenth centuries; 3. The legacy of Anne Hathaway's cottage; Interlude: fact and fiction; 4. 'Fit to marry': early imaginary Annes; 5. Post-war imaginary Annes; 6. Anne Hathaway for a female audience; Conclusion.

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Book SynopsisThe seventieth volume in the annual series of volumes devoted to Shakespeare study and production. The articles are drawn from the World Shakespeare Congress, held 400 years after Shakespeare''s death, in July/August 2016 in Stratford-upon-Avon and London. The theme is ''Creating Shakespeare''.Table of Contents1. 'Think when we talk of horses …' Gregory Doran; 2. Adrian Lester in dialogue with Ayanna Thompson; 3. Shakespeare and the novel: a conversation Howard Jacobson and Adrian Poole; 4. 'Music still': understanding and reconstructing Shakespeare's use of musical underscore Claire van Kampen; Part I. Shakespeare: Biography and Celebration: 5. Remembering and forgetting in 1916: Israel Gollancz, the Shakespeare tercentenary and the National Theatre Gordon McMullan; 6. Four centuries of centenaries: Stratford-upon-Avon Michael Dobson; 7. Writing and re-writing Shakespeare's life: a roundtable discussion with Margreta de Grazia, Katherine Scheil, James Shapiro, and Stanley Wells Paul Edmondson; 8. The merchant in Venice: re-creating Shakespeare in the Ghetto Shaul Bassi; 9. Shakespeare's The Merchant of Venice in and beyond the Ghetto Carol Chillington Rutter; Part II. Shakespeare and Textual Studies: 10. What the quills can tell: the case of John Fletcher and Philip Massinger's Love's Cure José A. Pérez Díez; 11. What if Greg and Werstine had examined early Modern Spanish Dramatic Manuscripts Jesús Tronch; 12. Exit manuscripts: the archive of theatre and the archive of print John Jowett; 13. 'Sblood! Hamlet's oaths and the editing of Shakespeare's plays Lucy Munro; 14. Antihonorificabilitudinitatibus: Love's Labour's Lost and unteachable words Adam Zucker; 15. Shakespeare and who? Aeschylus, Edward III, and Thomas Kyd Gary Taylor, John V. Nance and Keegan Cooper; 16. Authorial attribution and Shakespearean variety: genre, form and chronology Hugh Craig; Part lll. Shakespeare and Early Modern Contexts: 17. 'My mother's maids, when they did sew and spin': staging sewing, telling tales Hester Lees-Jeffries; 18. Why prospero drowned his books, and other Catholic folklore Helen Cooper; 19. Why did the English stage take boys for actresses? Pamela Allen Brown; 20. Acting amiss: towards a history of actorly craft and playhouse judgement Simon Smith 21. 'What imports this song?': spontaneous singers and spaces of meaning in Shakespeare Elisabeth Lutteman; 22. Shakespeare's depriving particles Ruth Morse; 23. Shakespeare's comedy of upright status: standing bears and fallen humans Laurie Shannon; 24. 'Worth the name of a Christian'?: the parabolic economy of Two Gentlemen of Verona Margaret Tudeau-Clayton; 25. 'Titus, unkind': Shakespeare's revision of Vergil's Aeneas in Titus Andronicus Megan Allen; 26. 'Cut him out in little stars': Juliet's cute classicism Julia Reinhard Lupton; 27. The will of Caesar: choice-making, the death of the Roman Republic, and the development of Shakespearean character Katharine Eisaman Maus; 28. 'As for that light hobby-horse, my sister': Shakespearean influences and popular discourses in Blurt, Master Constable Natália Pikli; 29. Messianic ugliness in A Midsummer Night's Dream and The Winter's Tale Naomi Baker; 30. Shakespeare performances in England, 2016 Stephen Purcell; 31. Professional Shakespeare productions in the British Isles, January-December 2015 James Shaw; Part IV. The Year's Contribution to Shakespeare Studies: 1. Critical studies reviewed by Charlotte Scott; 2. The Cambridge Guide to the Worlds of Shakespeare reviewed by Russell Jackson; 3. Shakespeare in performance reviewed by Russell Jackson; 4. Editions and textual studies reviewed by Peter Kirwan; Abstracts.

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Book SynopsisDuring the sixteenth and early seventeenth centuries, England grew from a marginal to a major European power, established overseas settlements, and negotiated the Protestant Reformation. The population burgeoned and became increasingly urban. England also saw the meteoric rise of commercial theatre in London, the creation of a vigorous market for printed texts, and the emergence of writing as a viable profession. Literacy rates exploded, and an increasingly diverse audience encountered a profusion of new textual forms. Media, and literary culture, transformed on a scale that would not happen again until television and the Internet. The twenty innovative contributions in Gathering Force: Early Modern Literature in Transition, 15571623 trace ways that five different genres both spurred and responded to change. Chapters explore different facets of lyric poetry, romance, commercial drama, masques and pageants, and non-narrative prose. Exciting and accessible, this volume illuminates the dyTrade Review'… lapses are rare in this valuable book … we hope that it encourages publishers, often dubious about collections, to publish them-and personnel committees to celebrate the achievements of their editors.' Heather Dubrow, Renaissance QuarterlyTable of ContentsPart I. Generic Transitions: 1. The English sonnet: cycles and recycling Catherine Bates; 2. Romance: traditions and innovations Kenneth Borris; 3. Drama: forming an audience Lois Potter; 4. Pageants, masques, and entertainments: old rituals, new forms Lauren Shohet; 5. Arts of rhetoric: antique and modern Jenny C. Mann; Part II. Literature and Ideological Transformation: 6. Lyric and spiritualism: John Donne's 'The Ecstasy' Douglas Trevor; 7. Romance and the boundaries of genre and gender Andrew Hadfield; 8. Drama and globalization in early modern England Daniel J. Vitkus; 9. The court masque: art and politics Peter Holbrook; 10. Prose, science, and scripture: Francis Bacon's sacred texts Katherine Bootle Attié; Part III. Literature and Cultural Transformation: 11. Lyric and scientific epistemologies: Bacon and Donne Liza Blake; 12. Romance and the early modern cultures of the book Sarah Wall-Randell; 13. Drama and commodity culture in Marlowe's Doctor Faustus Bradley D. Ryner; 14. Pageantry and politics: the anxiety of arrival Tom Bishop; 15. Prose and the public sphere David Colclough; Part IV. Literature and Local Transformation: 16. 'Hard to meter well': psalms and early modern English poetry Lucía Martínez Valdivia; 17. Romance, magical space, and Wroth's Urania Sheila Cavanagh; 18. Drama and the playhouse Lucy Munro; 19. Greek tragedy on the university stage: Buchanan and Euripides Hannah Crawforth and Lucy Jackson; 20. Prose and the pulpit Lori Anne Ferrell.

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Book SynopsisThe early modern period in Britain was defined by tremendous upheaval - the upending of monarchy, the unsettling of church doctrine, and the pursuit of a new method of inquiry based on an inductive experimental model. Political Turmoil: Early Modern Literature in Transition, 16231660 offers an innovative and ambitious re-appraisal of seventeenth-century British literature and history. Each of the contributors attempts to address the ''how'' and ''why'' of aesthetic change by focusing on political and cultural transformations. Instead of forging a grand narrative of continuity, the contributors attempt to piece together the often complex web of factors and events that contributed to developments in literary form and matter - as well as the social and religious changes that literature sometimes helped to occasion. These twenty chapters, reading across traditional periodization, demonstrate that early modern literary works - when they were conceived, as they were created, and after they cTrade Review'Political Turmoil is remarkable for its engagement with multiple discourses. Its thoughtfully arranged chapters … are uniformly well-written, occasionally revelatory, and very much in conversation across the volume. This book will prove accessible to advanced undergraduates, yet useful to both generalists and experts in early modern literature. It should be on the shelves of every academic library and considered for any graduate or advanced undergraduate course in early modern literature.' Wendy Furman-Adams, Modern PhilologyTable of ContentsIntroduction: turmoil, political and otherwise; Part I. Generic Transitions: 1. Writing the self Sharon Cadman Seelig; 2. Changing places and transitional spaces: plays, masques, and performances Julie Sanders; 3. Erotic and devotional verse Stephen Guy-Bray; 4. Kingdoms of the mind: epic forms, fragments, and translations Anthony Welch; 5. 'Useful' books and mobile poems Randall Ingram; Part II. Literature and Ideological Transformation: 6. The symbolism of anti-Calvinism John Rumrich; 7. Royalist writing and the trope of prison Jerome de Groot; 8. Shakespearean constitutions: literary culture and republicanism Nicholas McDowell; 9. 'The best of texts': the death of Charles I Stephen B. Dobranski; 10. A British Caesar? Representations of Oliver Cromwell Laura Knoppers; Part III. Literature and Cultural Transformation: 11. An 'Amsterdamnified' public sphere: English newsbooks, pamphleteering and polemic in European context Jason Peacey; 12. Affected and disaffected alike: women, print, and the problem of women's literary history Lara Dodds; 13. Imagining the scientific revolution in England Katherine Calloway; 14. Revitalizing nation and mind: the failed promise of seventeenth-century educational reform Todd Butler; 15. The end of friendship Gregory Chaplin; Part IV. Literature and Local Transformation: 16. Country matters Verena Olejniczak Lobsien; 17. Life during wartime: the writing of civil war London Christopher D'Addario; 18. Nations in question: writing Scotland and Ireland James Loxley; 19. England, neo-Latin, and the continental journey Estelle Haan; 20. Global commerce and an emergent 'empire of trade' Stephen Deng.

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Book SynopsisSeventeenth-century England teemed with speculation on body and its relation to soul. Descartes'' dualist certainty was countered by materialisms, whether mechanist or vitalist. The most important and distinctive literary reflection of this ferment is John Milton''s vitalist or animist materialism, which underwrites the cosmic worlds of Paradise Lost. In a time of philosophical upheaval and innovation, Milton and an unusual collection of fascinating and diverse contemporary writers, including John Donne, Margaret Cavendish, John Bunyan, and Hester Pulter, addressed the potency of the body, now viewed not as a drag on the immaterial soul or a site of embarrassment but as an occasion for heroic striving and a vehicle of transcendence. This collection addresses embodiment in relation to the immortal longings of early modern writers, variously abetted by the new science, print culture, and the Copernican upheaval of the heavens.Table of ContentsPart I. 1. The enfolded sublime of incarnate immortality Gardner Campbell; 2. Milton's 'Lycidas', or Edward King's two bodies James Nohrnberg; Part II. 3. Narcissus in the boudoir: Aretino's Petrarchan postures Gordon Braden; 4. Carnality into creativity: sublimation in John Bunyan's 'Apology' to The Pilgrim's Progress Vera Camden; 5. Milton's beautiful body Gregory Chaplin; 6. The fortunate, unfortunate fall and two varieties of immortality in Paradise Lost Stephen M. Fallon; Part III. 7. The miracle in Francis Bacon's natural philosophy Gregory Foran; 8. Flesh made word: pneumatology and Miltonic textuality John Rumrich; 9. Milton beyond iconoclasm David A. Harper; Part IV. 10. Hester Pulter's brave new worlds Louisa Hall; 11. Death-weddings or living books: Cavendish rewriting Donne Dustin Stewart; 12. Paradise Lost and the creation of Mormon theology John Rogers.

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Book SynopsisHow did Shakespeare''s plays sound when they were originally performed? How can we know, and could the original pronunciation ever be recreated? For three days, Shakespeare''s Globe presented a production of Romeo and Juliet in original, Shakespearian pronunciation. In an unusual blend of autobiography, narrative, and academic content, David Crystal recounts the unique nature of the experience. He begins by discussing the Globe Theatre''s approach to ''original practices'', which had dealt with all aspects of Elizabethan stagecraft - except pronunciation. A large section is devoted to the nature of the Early Modern English sound system. There are reports of how the actors coped with the task of learning the pronunciation, how it affected their performances and how the audiences reacted. In this new edition, he reflects on the development of the original pronunciation movement across the world, since the Globe''s experiment.Table of ContentsPrologue Tim Carroll; 1. Idea; 2. Proposal; 3. Evidence; 4. Rehearsal; 5. Performance; 6. Consequences; Epilogue; Afterlife.

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Book SynopsisThe 71st in the annual series of volumes devoted to Shakespeare study and production. The articles, like those of volume 70, are drawn from the World Shakespeare Congress, held 400 years after Shakespeare''s death, in July/August 2016 in Stratford-upon-Avon and London. The theme is ''Re-Creating Shakespeare''.Table of ContentsList of Illustrations; Part I. Shakespeare in Performance – Africa and Asia: 1. Shakespeare's transcolonial solidarities in the global south Sandra Young; 2. Shakespeare's creolised voices Ashish Beesoondial; 3. 'Accents yet unknown': Haider and Hamlet in Kashmir Pompa Banerjee; 4. The forests of silence: global Shakespeare in the Philippines, the Philippines in global Shakespeare Judy Celine Ick; 5. Arab Shakespeares at the World Shakespeare Congress Katherine Hennessey and Margaret Litvin; 6. The dual tradition of bardolatry in China Hao Liu; 7. A catalyst for theatrical reinvention: contemporary travelling companies at the Tokyo Globe Theatre Michiko Suematsu; Part II. Shakespeare in Performance – The Americas: 8. 'Both alike in dignity': Havana and Mexico City Play Romeo and Juliet Alfredo Michel Modenessi; 9. Cuban improvisations: reverse colonization via Shakespeare Donna Woodford-Gormley; 10. Mixing memory with desire: staging Hamlet Q1 Andrew James Hartley; 11. Shakespeare, race, and 'other' Englishes: the Q Brothers' Othello: the remix Carla Della Gatta; Part III. Shakespeare in Performance – Europe: 12. 'Mingled yarn': The Merchant of Venice East of Berlin and the legacy of 'Eastern Europe' Boika Sokolova; 13. Ariel's groans, or, performing protean gender on the Bulgarian post-communist stage Kirilka Stavreva; 14. Dressing the history 'boys': Harry's masks, Falstaff's underpants Carol Chillington Rutter; 15. Shopping for the archives: fashioning a costume collection Kate Dorney; 16. Pastiche or archetype? The Sam Wanamaker Playhouse and the project of theatrical reconstruction Holger Schott Syme; 17. Evolutionary naturalism and ecology in Shakespearian performance (with scene from King John) Randall Martin; Part IV. Shakespeare and Other Art Forms: 18. Of dance and disarticulation: Juliet dead and alive Joseph Campana; 19. Titania's dream: three choreographic Midsummer Night's Dreams of the twentieth century Iris Julia Bührle; 20. Shakespeare on screens: close watching, close listening Peter Holland; 21. From table books to Tumblr: recollecting the microgenres of the early modern stage in social media Cyrus Mulready; 22. Unlearning Shakespeare studies: speculative criticism and the place of fan activism Louise Geddes; 23. Titus Andronicus and trapdoors at the Rose and Newington Butts Mark Hutchings; 24. Shakespeare's bewitching line Robert Stagg; 25. At the sign of the angel: the influence of Andrew Wise on Shakespeare in print Amy Lidster; 26. Shakespeare and Hardy: the tragi-comic nexus Thomas McAlindon; 27. Queer Iago: a brief history Jonathan Crewe; 28. Global Shakespeare and the censor: adaptation, context and Shakespeare Must Die, a Thai film adaptation of Macbeth Mark Thornton Burnett; 29. Hathaway farm: commemorating Warwickshire Will between the wars Katherine Scheil; 30. Shakespeare performances in England, 2017 Stephen Purcell; 31. Professional Shakespeare productions in the British Isles, January-December 2016 James Shaw; 32. The year's contribution to Shakespeare studies; 1. Critical studies reviewed by Charlotte Scott; 2. Shakespeare in performance reviewed by Russell Jackson; 3. Editions and textual studies reviewed by Peter Kirwan; Abstracts; Index.

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Book SynopsisThis first volume of The Cambridge History of the Gothic provides a rigorous account of the Gothic in Western civilisation, from the Goths'' sacking of Rome in 410 AD through to its manifestations in British and European culture of the long eighteenth century. Written by international cast of leading scholars, the chapters explore the interdisciplinary nature of the Gothic in the fields of history, literature, architecture and fine art. As much a cultural history of Gothic as an account of the ways in which the Gothic has participated within a number of formative historical events across time, the volume offers fresh perspectives on familiar themes while also drawing new critical attention to a range of hitherto overlooked concerns. From writers such as Horace Walpole and Ann Radcliffe to eighteenth-century politics and theatre, the volume provides a thorough and engaging overview of early Gothic culture in Britain and beyond.Table of ContentsIntroduction: The Gothic in/and History Dale Townshend, Angela Wright and Catherine Spooner 1. The Goths in Ancient History David M. Gwynn; 2. The Term 'Gothic' in the Long Eighteenth Century, 1680‒1800 Nick Groom; 3. The Literary Gothic Before Horace Walpole's The Castle of Otranto Dale Townshend; 4. Gothic Revival Architecture Before Horace Walpole's Strawberry Hill Peter N. Lindfield; 5. Horace Walpole and the Gothic Stephen Clarke; 6. Shakespeare's Gothic Transmigrations Anne Williams; 7. Reassessing the Gothic / Classical Relationship James Uden; 8. 'A World of Bad Spirits': The Terrors of Eighteenth-Century Empire Ruth Scobie; 9. In Their Blood: The Eighteenth-Century Gothic Stage Paula R. Backscheider; 10. Domestic Gothic Writing after Horace Walpole and before Ann Radcliffe Deborah Russell; 11. Early British Gothic and the American Revolution James Watt; 12. Gothic and the French Revolution, 1789–1804 Fanny Lacôte; 13. The Aesthetics of Terror and Horror: A Genealogy Eric Parisot; 14. Ann Radcliffe and Matthew Lewis Angela Wright; 15. The Gothic Novel Beyond Radcliffe and Lewis Yael Shapira; 16. Oriental Gothic: Imperial-Commercial Nightmares from the Eighteenth Century to the Romantic Period Diego Saglia; 17. The German 'School' of Horrors: A Pharmacology of the Gothic Barry Murnane; 18. Gothic and the History of Sexuality Jolene Zigarovich; 19. Gothic Art and Gothic Culture in the Romantic Era Martin Myrone; 20. Time in the Gothic Robert Miles; Select Bibliography

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Book SynopsisDuring the Italian Renaissance, laywomen and nuns could take part in every stage of the circulation of texts of many kinds, old and new, learned and popular. This first in-depth and integrated analysis of Italian women''s involvement in the material textual culture of the period shows how they could publish their own works in manuscript and print and how they promoted the first publication of works composed by others, acting as patrons or dedicatees. It describes how they copied manuscripts and helped to make and sell printed books in collaboration with men, how they received books as gifts and borrowed or bought them, how they commissioned manuscripts for themselves and how they might listen to works in spoken or sung performance. Brian Richardson''s richly documented study demonstrates the powerful social function of books in the Renaissance: texts-in-motion helped to shape women''s lives and sustain their social and spiritual communities.Table of Contents1. Publishing texts; 2. Making and selling books; 3. Women as scribes; 4. Access to texts.

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Book SynopsisStill Shakespeare and the Photography of Performance examines the place of photography in the reception of the Shakespeare canon since the invention of the camera, looking at how photographic images have shaped perceptions of historicity, performance, and Shakespearean character, and how their dissemination has affected Shakespearean authority. Barnden reveals how photography has conditioned the reception of Shakespeare''s works in two key ways. Firstly, as a form of performance documentation, photographs shape the way individual performances are remembered and their positioning in relation to traditional and iconoclastic interpretations of the text. Secondly, photographs are vehicles of Shakespearean iconography, encouraging certain compositions and interpretations. Exploring both theatrical and staged art photographs, Still Shakespeare demonstrates the role of photography as a contributor to the calcification of Shakespearean quotation, advertising, and iconography, and to the attrition of the relationship between image and text whereby images become attached to narratives far beyond their original context.Trade Review'… Shakespeare and the Photography of Performance is a fascinating book for this photoshopping age … Still Shakespeare offers an enlightening and engaging introduction to the study of Shakespeare photography that should appeal to performance historians and theatre creators alike.' Daniel Yabut, Cahiers Élisabéthains: A Journal of English Renaissance StudiesTable of ContentsIntroduction: leave not a rack behind; Part I. Photographing Performers: 1. Liveness, documentation, and the RSC's dreams, 1954–77; 2. Photographing the past in the theatre of Charles Kean; 3. Julia Margaret Cameron, sympathetic Shakespeare and photographic afterlives; Part II. Iconography, Photography, and Hamlet: 4. 'Too much of water': Ophelia, photography, dissolution; 5. Poor Yorick: the photograph as memento mori; Epilogue; Select bibliography; Index.

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Book SynopsisA History of the Literature of the U.S. South provides scholars with a dynamic and heterogeneous examination of southern writing from John Smith to Natasha Trethewey. Eschewing a master narrative limited to predictable authors and titles, the anthology adopts a variegated approach that emphasizes the cultural and political tensions crucial to the making of this regional literature. Certain chapters focus on major white writers (e.g., Thomas Jefferson, William Faulkner, the Agrarians, Cormac McCarthy), but a substantial portion of the work foregrounds the achievements of African American writers like Frederick Douglass, Zora Neale Hurston, and Sarah Wright to address the multiracial and transnational dimensions of this literary formation. Theoretically informed and historically aware, the volume''s contributors collectively demonstrate how southern literature constitutes an aesthetic, cultural and political field that richly repays examination from a variety of critical perspectives.Trade Review'Recommended.' M. L. Robertson, Choice ConnectTable of ContentsIntroduction. Reconstructing literary history Harilaos Stecopoulos; 1. Fictions of the native south Melanie Benson Taylor; 2. John Smith and the English origins of southern exceptionalism Rob McLoone; 3. Plantation and enlightenment Jennifer Greeson; 4. Geoconfederacy; or, Bartram's Southern archipelago Monique Allewaert; 5. In the shadow of his office: architectures of affect in Jefferson's notes on the State of Virginia Laura Rigal; 6. Shadows of Haiti: racing gender, violence and sentiment in Victor Séjour, Gertrudis Gómez de Avellaneda, and Charles Chesnutt Susan Castillo Street; 7. 'Midnight bakings' amid starvation: food and aesthetics in the slave narrative Stephanie Tsank; 8. A calculated fiction: antebellum plantation romances Katharine Burnett; 9. Maroons and marronage in antebellum African American literature Sean Gerrity; 10. Everyday literary culture in the nineteenth century Christopher Hager and Beth Barton Schweiger; 11.'Fables of the Bloody Shirt': reconstruction and the problem of national violence Scott Romine; 12. A heritage unique in the ages: the politics of black southern womanhood in Anna Julia Cooper's a voice from the south by a black woman from the south Joanna Davis-McElligatt; 13. Moonlight and magnolias no more: the new plantation tradition and its respondents Justin Mellette; 14. Women writers and the southern renaissance; or, the work of gender in literary periodization Jay Watson; 15. Southern geographies and new Negro modernism Thadious Davis; 16. 'A fine loud grabble and snatch of AAA and WPA': Faulkner, Hurston, Wright, Bontemps and the depression south Martyn Bone; 17. Provincialism as a positive good: agrarianism and its afterlives Jon Smith; 18. Faulkner's untimely fictions John Matthews; 19. Reconsidering Du Bois's 'Central Text': W. E. B. Du Bois, Sarah Wright, and the problem of the 'Black Worker' Konstantina Karageorgos; 20. Cultural activism and theater of the Civil Rights Movement Elizabeth Rodriguez Fielder; 21. Till the hurt becomes music: gnosticism and improvisation in the poetry of Yusef Komunyakaa Herman Beavers; 22. Undead sound; or, why southern poetry is not dead: the undying work of fathers in Natasha Trethewey, Adam Vines, and Cormac McCarthy Daniel Turner; 23. There is no south: the weird Plantationocene of Jeff VanderMeer's southern reach trilogy Amy Clukey; 24. Hurricane Alley: literature of the coastal south in a time of climate change Valerie Loichot.

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Book SynopsisThe ''graphosphere'' is the dynamic space of visible words. Graphospheres mutate, they are reconfigured with changes in technology, in modes of production, in social structures, in fashion and taste. The graphospheric environment can be public or private, monumental or ephemeral. This book explores a new approach to the study of writing, with a focus on Russia during its ''long early modernity'' from the late fifteenth century to the early nineteenth century. Taking an inclusive approach, it charts unmapped territory, uncovers sources that have almost entirely escaped attention and therefore provides, in the first instance, a unique reference guide to cultures of writing in Russia over four hundred years. Besides generating fresh insights into distinctive features of Russian culture, this outward-looking and accessible book offers a pioneering case study for the wider comparative exploration of the significance of technologies of the word.Trade Review'Recommended for libraries supporting Slavic, East European, and Central Eurasian graduate studies. Includes a most extensive bibliography.' B. K. Beynen, Choice'… insightful … Franklin takes the reader into a world where writing and reading signalled something very different from what they do today.' Marshall Poe, The Times Literary Supplement'Franklin has written an important book, one that inspires readers to reevaluate past assumptions about the history of material texts, categories of writing and the institutions that determine their value. His is a work whose implications extend beyond the chronological and geographical indicators of its title and that has the potential to establish a new branch of literary and cultural studies beyond the boundaries of our field.' University of Southern California Book Prize in Literary and Cultural Studies Committee'Franklin introduces the term [graphosphere] as a 'near neologism,' and with it, inaugurates an entire field. Now that he has done so, readers have cause to celebrate. This is a rare book that opens eyes and reveals new vistas for thought, imagination, and scholarship. It is as electrifying in its novelty as it is dazzling in its erudition … The cumulative force of the book allows us to see the concept of the graphosphere emerge out of a haze and solidify as a real and important way to look at the world, to think about culture and history, to unearth new information and gain new perspectives by cutting across familiar categories in unexpected ways.' Valerie A. Kivelson, Canadian-American Slavic StudiesTable of Contents1. Concepts and contexts; 2. Production in the graphosphere, I: primary writing; 3. Production in the graphosphere, II: secondary writing; 4. Scripts and languages of the graphosphere; 5. Places and times of the graphosphere; 6. Aspects of the ecology of the graphosphere; 7. Aspects of authority and status in the graphosphere; 8. (In)conclusion.

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Book SynopsisA dedicated study of how classical Latin erotic elegy was read in the Renaissance and helped shape the emergence of English love poetry. This book will be of interest to scholars of early modern literature and classical literature, in particular love, gender, sex and the body.Trade Review'… the most enjoyable thing about this volume is the author's delight in the poetry she presents to the reader, which is described within the space of a couple of pages as 'exuberant', 'un-anxious', 'creative' and 'confident, even blasé', with an 'untroubled “pick-and-mix” approach' to reception that is 'programmatically promiscuous'. For G.,[Linda Grant] Renaissance classical reception is a playful and imaginative adventure-and her enthusiasm carries the reader along.' Cora Beth Knowles, Classics for AllTable of ContentsIntroduction: 'All that rout of lascivious poets that wrote epistles and ditties of love'; 1. 'Ovid was there and with him were Catullus, Propertius and Tibullus': transmission, teaching and receptions of Roman love elegy in the Renaissance; 2. 'For truth and faith in her is laid apart': women's words and the construction of masculinity in Catullus' Lesbia poems and Thomas Wyatt; 3. ''Fool', said my muse to me': reading metapoetics in Propertius 2.1 and 4.7, and Astrophil and Stella 1; 4. 'In six numbers let my work rise, and subside in five': authority and impotence in Amores 1.5 and 3.7, Donne's 'To his mistress going to bed', and Nashe's Choice of Valentines; 5. 'My heart … with love did inly burn': female authorship and desire in Sulpicia, Mary Sidney's Antonie and Mary Wroth's Pamphilia to Amphilanthus 1.

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Book SynopsisShakespeare Survey is a yearbook of Shakespeare studies and production. Since 1948, Survey has published the best international scholarship in English and many of its essays have become classics of Shakespeare criticism. Each volume is devoted to a theme, or play, or group of plays; each also contains a section of reviews of that year''s textual and critical studies and of the year''s major British performances. The theme for Volume 73 is ''Shakespeare and the City''. The complete set of Survey volumes is also available online at https://www.cambridge.org/core/what-we-publish/collections/shakespeare-survey This fully searchable resource enables users to browse by author, essay and volume, search by play, theme and topic and save and bookmark their results.Table of Contents1. Continental Shakespeare Karen Newman; 2. The stranger at the door: belonging in Shakespeare's Ephesus Nandini Das; 3. City origins, lost identities and print errors in The Comedy of Errors Alice Leonard; 4. The circulation of youthful energy on the early modern London stage: migration, intertheatricality, and 'growing to common players' Harry R. McCarthy; 5. In conversation with Shakespeare in Jacobean London: social insanity and its taming schools in 1 and 2 Honest Whore Chi-Fang Sophia Li; 6. Hearing voices: signal vs urban noise in Coriolanus and Augustine's Confessions Lars Engle; 7. Caesar and Lear in Hong Kong: appropriating Shakespeare to express the inexpressible Miriam Lau Leung Che; 8. Before we sleep: Macbeth and the curtain lecture Neil Rhodes; 9. 'The story shall be changed': antique fables and agency in A Midsummer Night's Dream Charlotte Scott; 10. A lawful magic: new worlds of precedent in Mabo and The Winter's Tale Nicholas Luke; 11. 'Cabined, cribbed, confined': advice to actors and the priorities of Shakespearean scholarship' Michael Cordner; 12. 'What country, friends, is this?': Tim Supple's Twelfth Night revisited Peter J. Smith; 13. Through a glass darkly: Sophie Okonedo's Margaret as racial other in The Hollow Crown: The Wars of the Roses Jennie M. Votava; 14. 'Who's there?': Britain's twenty-first century obsession with celebrity Hamlet (2008-2018) Gemma Kate Allred; 15. Shakespearean performance in England 2019 Stephen Purcell and Paul Prescott; 16. Professional Shakespeare productions in the British Isles 2018 James Shaw; 17. Critical studies Charlotte Scott; 18. Shakespeare in performance Russell Jackson; 19. Editions and textual studies Peter Kirwan.

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