Literary studies: c 1600 to c 1800 Books

Book SynopsisThis original study explores a vital aspect of early modern cultural history: the way that warfare is represented in the theatre of Shakespeare and his contemporaries. The book contrasts the Tudor and Stuart prose that called for the establishment of a standing army in the name of nation, discipline and subjectivity, and the drama of the period that invited critique of this imperative. Barker examines contemporary dramatic texts both for their radical position on war and, in the case of the later drama, for their subversive commentary on an emerging idealisation of Shakespeare and his work.The book argues that the early modern period saw the establishment of political, social and theological attitudes to war that were to become accepted as natural in succeeding centuries. Barker''s reading of the drama of the period reveals the discontinuities in this project as a way of commenting on the use of the past within modern warfare. The book is also a survey and analysis of literary theory over the last twTable of ContentsPreface; Part One: Introductory Worlds; Chapter 1: 'Keep It Dark'; Chapter 2: In Theatre; Part Two: Commitment; Chapter 3: Good Friday, 1513; Chapter 4: The Double-Armed Man; Part Three: Shakespeare and the Wars; Chapter 5: 'We band of brothers'; Chapter 6: The Exit Strategy; Part Four: Refusal; Chapter 7: Gentler Crafts; Chapter 8: Beyond History; Chapter 9: The Abandoned Soldier; Bibliography; Index.

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Book SynopsisThis volume brings together aspects of Middleton's craft through a detailed study of representative plays.Table of ContentsAcknowledgements; Introduction; Chapter 1: Life; Chapter 2: City Comedies: Mad World, My Masters, Michaelmas Term, and A Trick to Catch the Old One; Chapter 3: Authorship, Collaboration and the London Theatre: Middleton and Dekker, The Roaring Girl; Chapter 4: Tragicomedy and the City: Chaste Maid in Cheapside and No Wit, No Help Like a Woman; Chapter 5: The Playwright as Craftsman: Middleton's Civic Pageants; Chapter 6: Plotting Revenge: Revenger's Tragedy and Women Beware Women; Chapter 7: Partners in Tragedy: Middleton and Rowley, The Changeling; Chapter 8: Politics and Theatre: A Game at Chess; Bibliography

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Book SynopsisIn these essays, brought together here for the first time, world-renowned critic Catherine Belsey puts theory to work in order to register Shakespeare's powers of seduction.Trade ReviewThese are essays of love, as well as about love, and this makes them unusually sensitive...Belsey's insistence on the anarchy of desire seems both timely and genuinely radical. -- Peter Holbrook Times Literary Supplement 'All of the essays attest to Belsey's career-long commitment to theory and its ability to deliver new ways of reading ! Her attention in this collection to materiality and wordplay is indicative of her considerable skills as a close reader. Shakespeare Survey These are essays of love, as well as about love, and this makes them unusually sensitive...Belsey's insistence on the anarchy of desire seems both timely and genuinely radical. 'All of the essays attest to Belsey's career-long commitment to theory and its ability to deliver new ways of reading ! Her attention in this collection to materiality and wordplay is indicative of her considerable skills as a close reader.Table of ContentsPreface; 1. Introduction: Practising with Theory; 2. Psychoanalysis and Early Modern Culture: Lacan with Augustine and Montaigne; 3. Love as Trompe-l'oeil: Taxonomies of Desire in Venus and Adonis; 4. Tarquin Dispossessed: Expropriation and Consent in The Rape of Lucrece; 5. Antinomies of Desire and the Sonnets; 6. Peter Quince's Ballad: Shakespeare, Psychoanalysis, History and A Midsummer Night's Dream; 7. The Illusion of Empire: Elizabethan Expansionism and Shakespeare's Second Tetralogy; 8. Making Histories Then and Now: Shakespeare from Richard II to Henry V; 9. The Case of Hamlet's Conscience; 10. Iago the Essayist; Notes; Index.

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Book SynopsisWithin a theoretical framework that makes use of history, psychoanalysis and anthropology, The Early Modern Corpse and Shakespeare''s Theatre explores the relationship of the public theatre to the question of what constituted the ''dead'' in early modern English culture.Susan Zimmerman argues that concepts of the corpse as a semi-animate, generative and indeterminate entity were deeply rooted in medieval religious culture. Such concepts ran counter to early modern discourses that sought to harden categorical distinctions between body/spirit, animate/inanimate - in particular, the attacks of Reformists on the materiality of ''dead'' idols, and the rationale of the new anatomy for publicly dissecting ''dead'' bodies. Zimmerman contends that within this context, theatrical representations of the corpse or corpse/revenant - as seen here in the tragedies of Shakespeare and his contemporaries - uniquely showcased the theatre''s own ideological and performative agency.Trade ReviewSusan Zimmerman delivers an elegant and concise reading of what it meant to be, or to present, or to observe, a dead body on the early modern Englih stage. -- Bruce Boehrer Zimmerman performs a tour de force of interpretation in this important book ... Advanced scholars will find it an indispensable contribution to the growing scholarship interrogating the significance of dead bodies on stage and page. A powerful demonstration of how Protestantism, anatomy, and drama were engaged in a struggle over the meaning to be attached to the material body...an illuminating exposition of theories of the corpse with an historical account of its shifting status...an outstanding project. -- Professor Peter Stallybrass, Walter and Leonore Annenberg Professor of the Humanities, University of Pennsylvania An ambitious project that represents a genuine extension of our understanding of the historical and theatrical contexts of these plays - Zimmerman provides a new and exciting theoretical framework in Walter Benjamin's treatment of tragedy. -- Professor John Drakakis, Department of English Studies, University of Stirling The considerable strengths of this book lie in its analysis of the effect of reformation ideology on the theater's representation of the corpse and Zimmerman's subtle invocation of pschoanalytic theory as a way of understanding early modern culture. Renaissance Quarterly ...a provocative and careful study ... it is clear from Zimmerman's considerable efforts in this study that there is a lively and far-reaching cultural life in the dead bodies she considers. The Sixteenth Century Journal An ambitious historicist combination of anthropology, medical history, religious and folk beliefs, and literary theory and criticism. Bibliotheque d'Humanisme et Renaissance Susan Zimmerman delivers an elegant and concise reading of what it meant to be, or to present, or to observe, a dead body on the early modern Englih stage. Zimmerman performs a tour de force of interpretation in this important book ... Advanced scholars will find it an indispensable contribution to the growing scholarship interrogating the significance of dead bodies on stage and page. A powerful demonstration of how Protestantism, anatomy, and drama were engaged in a struggle over the meaning to be attached to the material body...an illuminating exposition of theories of the corpse with an historical account of its shifting status...an outstanding project. An ambitious project that represents a genuine extension of our understanding of the historical and theatrical contexts of these plays - Zimmerman provides a new and exciting theoretical framework in Walter Benjamin's treatment of tragedy. The considerable strengths of this book lie in its analysis of the effect of reformation ideology on the theater's representation of the corpse and Zimmerman's subtle invocation of pschoanalytic theory as a way of understanding early modern culture. ...a provocative and careful study ... it is clear from Zimmerman's considerable efforts in this study that there is a lively and far-reaching cultural life in the dead bodies she considers. An ambitious historicist combination of anthropology, medical history, religious and folk beliefs, and literary theory and criticism.Table of Contents; Chapter 1; Dead Bodies; (theoretical introduction: Bataille, Douglas, Kristeva, Lacan, Benjamin); Chapter 2; Body Imaging and Religious Reform: The Corpse as Idol; (historicist analysis of shifts in sacramental, iconographic, and theological imaging of the corpse from the late medieval to the early modern periods in England); Chapter 3; Animating Matter: The Corpse as Idol in The Second Maiden's Tragedy and The Duke of Milan; (includes analysis of English public theatre);; Chapter 4; Invading the Grave: Shadow Lives in The Revenger's Tragedy; and The Duchess of Malfi; (includes analysis of English funerary customs and the practice of anatomical dissection); Chapter 5; Killing the Dead: Duncan's Corpse and Hamlet's Ghost; Epilogue: Last Words.

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Book SynopsisThis book addresses the relations between literary culture, English commercial and colonial expansion, and the making of 'Great Britain' in the late seventeenth and eighteenth centuries.Trade ReviewThis book addresses the relations between literary culture, English commercial and colonial expansion, and the making of 'Great Britain' in the late seventeenth and eighteenth centuries. This book convincingly challenges both the extremely short historical memory of most postcolonial work and the all too-insularly English world still conjured by period specialists. Hogarthian whores and Grub Street hacks, coffee houses and fashionable pastimes, and the burgeoning of print culture all stand revealed as intimately bound to portents of plantation insurgency, agitation for abolition, and the vast fortunes produced by the labouring bodies of the poor, the colonized, and the enslaved. Eighteenth-century studies has never appeared in a more engaged and fascinating light. -- Professor Donna Landry, University of Kent Kaul succeeds well in his project to situate literary production within the context of the international mercantile anxieties of nation and economy in the long eighteenth century... This is a very valuable and erudite work, short in length but rich in scope and content, beneficial for scholars, graduate students, and undergraduates alike, that serves as a good compendium of sources for further reading and research. The focus on the extratextual mercantile and colonialist phenomena can help dissuade readers from celebrating the meanings of literary texts and encourage them, instead, to reflect upon the forces, not readily evident, that produce those meanings. -- Thomas Paul Bonfiglio, University of Richmond College Literature This book convincingly challenges both the extremely short historical memory of most postcolonial work and the all too-insularly English world still conjured by period specialists. Hogarthian whores and Grub Street hacks, coffee houses and fashionable pastimes, and the burgeoning of print culture all stand revealed as intimately bound to portents of plantation insurgency, agitation for abolition, and the vast fortunes produced by the labouring bodies of the poor, the colonized, and the enslaved. Eighteenth-century studies has never appeared in a more engaged and fascinating light. Kaul succeeds well in his project to situate literary production within the context of the international mercantile anxieties of nation and economy in the long eighteenth century... This is a very valuable and erudite work, short in length but rich in scope and content, beneficial for scholars, graduate students, and undergraduates alike, that serves as a good compendium of sources for further reading and research. The focus on the extratextual mercantile and colonialist phenomena can help dissuade readers from celebrating the meanings of literary texts and encourage them, instead, to reflect upon the forces, not readily evident, that produce those meanings.Table of ContentsTimeline; Introduction: Towards a Postcolonial History of Eighteenth-century English Literature; Postcolonial Studies and Empire today; Nation-formation and empire in the eighteenth century; Territory, trade routes, war and "Great Britain"; Print and Public Culture; Literary Creativity, Literary Criticism, Postcolonial Criticism; Plan of the Book; Chapter 1: Theaters of empire; Davenant, the revival of performance, and the thematics of empire; Aphra Behn, colonial self-making, and the uncertain consolations of romance; Civil tragedy, commercial humanism, and colonial consciousness; Chapter 2: The expanding frontiers of prose; Yariko and Inkle and the staging of polite culture; Crusoe the merchant-adventurer-and Friday; Chapter 3: Imaginative writing, intellectual history, and the horizons of British literary culture; The Spectator, print culture, and the circulation of inter-national value; The languages of national difference: becoming Roderick Random; Luxury, Commercial Society, Enlightenment historiography; Chapter 4: Perspectives from Elsewhere; Lady Mary Wortley Montagu and her Turkish Embassy Letters; Johnson's Rasselas: philosophy in an "oriental" key; Phillis Wheatley: literacy, poetry, and slavery; Ukawsaw Gronniosaw: writing in another voice; Conclusion: Gazing into the Future; Literary transport: to India and the South Seas; Bibliography; Further Reading; Index.

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Book SynopsisThis authoritative and innovative volume explores the place of Shakespeare in relation to a wide range of artistic practices and activities, past and present.Trade ReviewThis remarkable collection is the most comprehensive and up-to-date Companion to Shakespeare ever assembled. With thirty essays all by distinguished or cutting-edge scholars, covering every significant mode of Shakespearean production and adaptation from the early modern period to the present, such as in music, comics, television, dance, visual arts, radio, film, as well as on the stage, there is no better book for undergraduate Shakespeare courses to contextualize and complement the Bard's own work. -- Professor Bryan Reynolds, University of California, Irvine This is a capacious book on a capacious subject: Shakespearean culture. From comic books to sculpture, poetic language to silent film, the Renaissance stage to the internet, this book shows the ways in which Shakespeare inhabits myriad art forms across time and space. Not only do the thirty topics covered by the contributors illuminate Shakespeare's use for novelists, poets, musicians, artists, dancers and filmmakers but they also locate Shakespeare in his own age and on his own stage. There is no Companion like this! -- Laurie Maguire, University of Oxford This remarkable collection is the most comprehensive and up-to-date Companion to Shakespeare ever assembled. With thirty essays all by distinguished or cutting-edge scholars, covering every significant mode of Shakespearean production and adaptation from the early modern period to the present, such as in music, comics, television, dance, visual arts, radio, film, as well as on the stage, there is no better book for undergraduate Shakespeare courses to contextualize and complement the Bard's own work. This is a capacious book on a capacious subject: Shakespearean culture. From comic books to sculpture, poetic language to silent film, the Renaissance stage to the internet, this book shows the ways in which Shakespeare inhabits myriad art forms across time and space. Not only do the thirty topics covered by the contributors illuminate Shakespeare's use for novelists, poets, musicians, artists, dancers and filmmakers but they also locate Shakespeare in his own age and on his own stage. There is no Companion like this!Table of ContentsIntroduction Mark Thornton Burnett, Adrian Streete and Ramona Wray Part 1: Shakespeare and the Book 1 Textual Shakespeare Sonia Massai 2 Shakespeare and Poetry Peter Holbrook 3 Shakespeare and the Novel Marianne Novy 4 Shakespeare and Translation Alexander C. Y. Huang 5 Shakespeare Anthologized Kate Rumbold 6 Shakespeare and Biography David Bevington Part 2: Shakespeare and Music 7 Shakespeare and Early Modern Music Christopher R. Wilson 8 Shakespeare and Opera Adrian Streete 9 Shakespeare and Classical Music Julie Sanders 10 Shakespeare and Musical Theatre Fran Teague 11 Shakespeare, Ballet and Dance Rodney Stenning Edgecombe 12 Shakespeare and Popular Music Adam Hansen Part 3: Shakespeare on Stage and in Performance 13 Shakespeare and Drama Lucy Munro 14 Shakespeare and the Renaissance Stage Edel Lamb 15 Shakespeare and the Restoration and Eighteenth-Century Stage Fiona Ritchie 16 Shakespeare and the Victorian Stage Richard Foulkes 17 Shakespeare and the Modern Stage Christie Carson 18 Shakespeare and Contemporary Performance Spaces Andrew James Hartley Part 4: Shakespeare and Youth Culture 19 Shakespeare for Children Amy Scott-Douglass 20 Shakespeare and Teenagers Kevin J. Wetmore, Jr. 21 Shakespeare and the Comic Book Michael P. Jensen Part 5: Shakespeare, Visual and Material Culture 22 Shakespeare, Portraiture, Painting, and Prints Erin C. Blake 23 Shakespeare, Sculpture and the Material Arts Balz Engler 24 Shakespeare Exhibition and Festival Culture Mark Thornton Burnett Part 6: Shakespeare, Media and Culture 25 Shakespeare and Silent Film Judith Buchanan 26 Shakespeare on Film, 1930-1990 Anne-Marie Costantini-Cornede 27 Shakespeare on Film, 1990-2010 Ramona Wray 28 Shakespeare on Television Stephen Purcell 29 Shakespeare and Radio Susanne Greenhalgh 30 Shakespeare on the Internet and in Digital Media Michael Best Notes on Contributors Index

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Book SynopsisShows how Renaissance writers and artists struggled to reconcile past traditions with experiences of 'discovery'.Table of ContentsSeries Editors' Preface List of Illustrations Acknowledgements Timeline 1 Exploring the Terrain Renaissance Anti-colonialisms Imperial Translations Cannibals Gender and Race Difference and Repetition 2 Debates Texts and Contexts Tempestuous Histories Postcolonial Reactivations of The Tempest Theory after Shakespeare Others and Selves Ireland: Civilised Selves and Barbarous Others Spain and Turkey: Protestantism and its Others Thinking Differently about Others: Olearius' Travels 3 Case Studies Two Ways of Looking at Colonial Beginnings Unfinished Histories: Gil Vicente's Auto da India History as Myth: Luis Vaz de Camoes' Os Lusiadas Two Ways of Writing the Heathen Writing the New World Native: de Bry's America I Writing the Chinese: de Bry's India Orientalis II The Brome-an Empire: Wonder and Theatre in The Antipodes Can't Buy me Love: John Donne's "Loves Progress" Revolutions that Have No Model: Marlowe's Tamburlaine the Great Primary Works Cited Secondary Works Cited Further Reading Index

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Book SynopsisShows how Renaissance writers and artists struggled to reconcile past traditions with experiences of 'discovery'.Table of ContentsSeries Editors' Preface List of Illustrations Acknowledgements Timeline 1 Exploring the Terrain Renaissance Anti-colonialisms Imperial Translations Cannibals Gender and Race Difference and Repetition 2 Debates Texts and Contexts Tempestuous Histories Postcolonial Reactivations of The Tempest Theory after Shakespeare Others and Selves Ireland: Civilised Selves and Barbarous Others Spain and Turkey: Protestantism and its Others Thinking Differently about Others: Olearius' Travels 3 Case Studies Two Ways of Looking at Colonial Beginnings Unfinished Histories: Gil Vicente's Auto da India History as Myth: Luis Vaz de Camoes' Os Lusiadas Two Ways of Writing the Heathen Writing the New World Native: de Bry's America I Writing the Chinese: de Bry's India Orientalis II The Brome-an Empire: Wonder and Theatre in The Antipodes Can't Buy me Love: John Donne's "Loves Progress" Revolutions that Have No Model: Marlowe's Tamburlaine the Great Primary Works Cited Secondary Works Cited Further Reading Index

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Book SynopsisIntroduces a Renaissance masterpiece to a modern audience.Table of ContentsPreface: How to read The Faerie Queene Series Editors' Preface 1 Mapping and Making 2 Selections from the poem 3 Contexts and Reception 4 Teaching the Text 5 Resources for Study Index

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Book SynopsisThis new guide leads readers through the complexities of the text with detailed commentary on core sections of the poem, as well as a range of interpretative frameworks and contexts.Table of ContentsPreface Series Editors' Preface 1. Mapping and Making Paradise Lost 2. Text, Commentary, and Analysis 3. Teaching the Text 4. Bibliography Index

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Book SynopsisIn these essays, brought together here for the first time, world-renowned critic Catherine Belsey puts theory to work in order to register Shakespeare's powers of seduction.Trade ReviewAll of the essays attest to Belsey's career-long commitment to theory and its ability to deliver new ways of reading ! Her attention in this collection to materiality and wordplay is indicative of her considerable skills as a close reader. Shakespeare Survey These are essays of love, as well as about love, and this makes them unusually sensitive...Belsey's insistence on the anarchy of desire seems both timely and genuinely radical. -- Peter Holbrook Times Literary Supplement All of the essays attest to Belsey's career-long commitment to theory and its ability to deliver new ways of reading ! Her attention in this collection to materiality and wordplay is indicative of her considerable skills as a close reader. These are essays of love, as well as about love, and this makes them unusually sensitive...Belsey's insistence on the anarchy of desire seems both timely and genuinely radical.Table of ContentsPreface; 1. Introduction: Practising with Theory; 2. Psychoanalysis and Early Modern Culture: Lacan with Augustine and Montaigne; 3. Love as Trompe-l'oeil: Taxonomies of Desire in Venus and Adonis; 4. Tarquin Dispossessed: Expropriation and Consent in The Rape of Lucrece; 5. Antinomies of Desire and the Sonnets; 6. Peter Quince's Ballad: Shakespeare, Psychoanalysis, History and A Midsummer Night's Dream; 7. The Illusion of Empire: Elizabethan Expansionism and Shakespeare's Second Tetralogy; 8. Making Histories Then and Now: Shakespeare from Richard II to Henry V; 9. The Case of Hamlet's Conscience; 10. Iago the Essayist; Notes; Index.

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Book SynopsisA compelling cultural reinterpretation of humanist discourses of boyhood The English epyllion, the highly erotic mythological verse that swept the London literary scene in the 1590s, is as much about rhetoric as about sex. So argues William Weaver in this fascinating study of Renaissance education and poetry. Rhetoric, moreover, is erotic. Far being merely formal, rhetoric is the key to deciphering the cultural meanings of an enigmatic genre.Weaver attends to one of the epyllion''s defining dramas: boys in transition to adulthood. Whereas recent studies of the epyllion have posited sexuality as the primary, even exclusive, means of representing beautiful boys, Weaver discovers that Renaissance male sexuality itself is an effect of a disciplinary drama of pedagogical transition from boyhood to adolescence, grammar to rhetoric. This drama of differentiation, lucidly expounded by Weaver, is at the heart of the erotic epyllia of Shakespeare, Marlowe and their imitators.Trade ReviewWilliam Weaver's book is a learned contribution to the growing reinvestigation of humanist pedagogy. He draws much-needed attention to an under-examined, but influential, school text - Aphthonius's Progymnasmata - in ways that deepen our understanding of the connection between rhetorical training and masculinity in Ovidian minor epics. -- Lynn Enterline, Vanderbilt University This book offers a highly original rewriting of the so-called minor epic in the Renaissance, linking it to the rite of passage in the humanist school while offering arresting observations on everything from Shakespearean sources to the reception of Ovid in the English Renaissance. A must read for historians of rhetoric, education, and early modern literature. -- Craig Kallendorf, Texas A&M University William Weaver's book is a learned contribution to the growing reinvestigation of humanist pedagogy. He draws much-needed attention to an under-examined, but influential, school text - Aphthonius's Progymnasmata - in ways that deepen our understanding of the connection between rhetorical training and masculinity in Ovidian minor epics. This book offers a highly original rewriting of the so-called minor epic in the Renaissance, linking it to the rite of passage in the humanist school while offering arresting observations on everything from Shakespearean sources to the reception of Ovid in the English Renaissance. A must read for historians of rhetoric, education, and early modern literature.Table of ContentsAcknowledgements; Introduction; Rites of passage; Scenes of performance: 1. Progymnasmata: Humanist Rites of Passage; The progymnasmata as an introduction to the art of rhetoric; Disciplinary boundaries in the English grammar school; Literary exercise between the disciplines; From discursive plenitude to disciplinary correction; Part I. Rudiments of Eloquence: Boyhood; 2. Fabula: Observing 'Amorous Rites' in Hero and Leander; Musaeus among the rudiments of eloquence; Marlowe's paraphrase; Leander in the scene of culture; Puberty rites and the English epyllion; 3. Chreia: Making Themes in Venus and Adonis; Boyhood study; Boyhood style; 'The lesson is but plain'; Venus' frustrated banquet; 4. Narratiuncula: Coming of Age in Oenone and Paris; Vivid narration; Paris at the crossroads; Paris in the upper forms; Irony, pathos, and the 'courteous reader'; Part II. First Exercises: Adolescence; 5. Narratio and Confirmatio: Forensic Performance in Lucrece; Adolescent study and style; Lucrece's narratio; Night, opportunity, and time; Troy and the perjured self; Lucrece's confirmatio; 6. Encomium: Antinous as Lord of Misrule in Orchestra; Aphthonian man; Tedious praise; Misrule; Poetic rule; 7. Thesis: Controlling Speech in Cephalus and Procris; 'Methinks the man amendeth the matter much'; Man, horse, and dogs; On contrarieties he answer made; Secret muse; Epilogue: Jesus' First Exercises in Paradise Regained; Appendix; Notes.

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Book SynopsisHow is it that biographies of Shakespeare can continue to appear when so little is known about him, and what is known has been in the public domain for so long? Why is it that a majority of the biographies published in the last decade have been written by distinguished Shakespeareans who ought to know better? This book aims to solve this puzzle.

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Book SynopsisExamines the innovative and technically accomplished nature of Burns' poetry. This book features essays on Burns' special place in Scottish, English and Irish literary culture. It demonstrates how Burns drew on Scottish vernacular traditions, English poetry and 18th-century sentimentalism to create his own, new kind of poetry.

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Book SynopsisCan Shakespeare help us with the question of how to live? This title argues that although Shakespeare strikingly dramatizes various kinds of uncertainty and scepticism, including scepticism about what it is to be human, his work can still serve as as source of existential wisdom and guidance.

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Book SynopsisExamines the impact of the royal politics of amnesia on tragedy and national historiography in France. This study argues that the political and legislative process of forgetting internal differences, undertaken in France after the civil wars of the 16th century. It deals with historiography and tragedy in the era of the French Wars of Religion.

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Book SynopsisRhetoric and Wonder in English Travel Writing, 1560-1613, shows how rhetorical invention, elocution and ethos combined to create plausible representations by generating intellectual and emotional significances which, meaningful in consensual terms, were ''consensually'' true. However, some traveller-writers betrayed an unease with such representation, rooted as it was in a metaphorical epistemology out of kilter with an increasingly empiricist age. This book throws new light onto the episteme shift that ushered in modernity with its distrust of metaphor in particular and rhetoric''s ''wordish descriptions'' in general. In response to the empirical desiderata of scientific rationalism, traveller-writers textually or physically made their own bodies available as evidence of their encounters with wonder, thus transforming themselves into wonderful objects. The irony is that, far from dispensing with rhetoric, they merely put the accent on its more dramatic arts of gesture and action. The Trade Review'... an impressive achievement.' Times Literary Supplement ’... an excellent study of early modern rhetoric.’ Sixteenth Century Journal ’... a study that not only offers readers a very useful review of a body of both canonical and relatively unfamiliar texts, but also raises some difficult and necessary questions about our current approach to them as literary and cultural documents.’ Studies in Travel WritingTable of ContentsContents: Preface; Introduction: Wonder, rhetoric and travel; The truth of travel writing; Wonder texts; Inventing and elocuting wonder; Composing and acting wonder; Epilogue; References; Select index.

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Book SynopsisThe last twenty-five years have seen exciting new developments in scholarly work on Lady Mary Wroth, whose Urania and Pamphilia to Amphilanthus constitute the first romance and the first sonnet sequence to be published by an Englishwoman. Wroth''s writings enter into a suggestive and gendered dialogue with the lyric and narrative works of her uncle, Sir Philip Sidney, even as they carve out a place for her own literary experiments. This volume gathers together some of the most striking recent criticism addressing Wroth''s oeuvre; many of its essays also discuss the intellectual and cultural contexts in which she wrote. The collection is prefaced by an extended editorial overview of scholarship in the field.Table of ContentsContents: Introduction; Bibliography; Part I Pamphilia to Amphilanthus: 'And thus leave off': reevaluating Mary Wroth's Folger manuscript, V.a.104, Heather Dubrow; 'Shall I turne blabb?': circulation, gender, and subjectivity in Lady Mary Wroth's sonnets, Jeff Masten; Rewriting lyric fictions: the role of the Lady in Lady Mary Wroth's Pamphilia to Amphilanthus, Naomi J. Miller; The labyrinth as style in Pamphilia to Amphilanthus, Mary Moore; Lady Mary Wroth's Pamphilia to Amphilanthus: the politics of withdrawal, Rosalind Smith. Part II Urania I and II: A pack of lies in a looking glass: Lady Mary Wroth's Urania and the magic mirror of romance, Jennifer Lee Carrell; 'The Great Cham': East meets West in Lady Mary Wroth's Urania, Sheila T. Cavanagh; 'Beleeve this butt a fiction': female authorship, narrative undoing and the limits of romance in The Second Part of the Countess of Montgomery's Urania, Clare R. Kinney; The biopolitics of romance in Mary Wroth's The Countess of Montgomery's Urania, Mary Ellen Lamb; Reading romances: the handwritten ending of Mary Wroth's Urania in the UCLA Library copy, Susan Light; Textual crimes and punishment in Mary Wroth's Urania, Shannon Miller; The constant subject: instability and female authority in Wroth's Urania poems, Maureen Quilligan; The strang[e] constructions of Mary Wroth's Urania: Arcadian romance and the public realm, Paul Salzman. Part III Love's Victory: Love's Victory, Barbara K. Lewalski; Deciphering women's pastoral: coded language in Wroth's Love's Victory, Josephine A. Roberts; 'Here is a sport will well befit this time and place': allusion and delusion in Mary Wroth's Love's Victory, Marion Wynne-Davies. Part IV Contexts: 'A Sydney, though un-named': Ben Jonson's influence in the manuscript and print circulation of Lady Mary Wroth's writings, Michael G. Brennan; 'Yet tell me some such fiction': Lady Mary Wroth's Urania and the 'femininity' of romance, Helen Hackett; 'Your vertuous and learned Aunt': the Countess of Pembroke as a mentor to Mary Wroth, Margaret P. Hannay; Boredom and whoredom: reading Renaissance women's sonnet sequences, Elizabeth Hanson; More I still undoe: Louise Labé, Mary Wroth and the Petrarchan discourse, Roger Kuin; The politics of genre in early women's writing: the case of Lady Mary Wroth, Cristina Luckyj; Lady Mary Wroth in the house of Busirane, Jacqueline T. Miller; Agency and marriage in the fictions of Lady Mary Wroth and Margaret Cavendish, Duchess of Newcastle, Anne Shaver; Index.

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Book SynopsisMary Sidney Herbert, Countess of Pembroke, was renowned in her own time for her metrical translation of biblical Psalms, several original poems, translations from French and Italian, and her literary patronage. William Shakespeare used her Antonius as a source, Edmund Spenser celebrated her original poems, John Donne praised her Psalmes, and Lady Mary Wroth and Aemilia Lanyer depicted her as an exemplary poet. Arguably the first Englishwoman to be celebrated as a literary figure, she has also attracted considerable modern attention, including more than two hundred critical studies. This volume offers a brief introduction to her life and an extensive overview of the critical reception of her works, reprints some of the most essential and least accessible essays about her life and writings, and includes a full bibliography.Table of ContentsContents: Introduction; Bibliography; Chronology; Part I Original Works: Davies's Astraea and other contexts of the Countess of Pembroke's 'A Dialogue', Mary C. Erler; 'To the angell spirit...': Mary Sidney's entry into the 'world of words', Beth Wynne Fisken; 'Love which hath never done': the Countess of Pembroke's Elegies and the Apology for Copia, Clare R. Kinney; Two unpublished letters by Mary Herbert, Countess of Pembroke, Steven W. May; Mary Sidney and gendered strategies for the writing of poetry, Shannon Miller; Ficinian elements in selected poems of Mary Sidney Herbert, Countess of Pembroke, Elizabeth Mary Tilyou; Mary Sidney's '... two shepherds', G.F. Waller. Part II Translations: Antonius: Mary Herbert: Englishing a purified Cleopatra, Tina Krontiris; Shakespeare's response to dramatic tradition in Anthony and Cleopatra, Michael Steppat. The Triumph of Death: 'Lover's songs shall turne to holy psalmes': Mary Sidney and the transformation of Petrarch, Danielle Clarke. A Discourse of Life and Death: The style of the Countess of Pembroke's translation of Philippe de Mornay's Discours de la Vie et de la Mort, Diane Bornstein. Part III Psalms: The Queen's proposed visit to Wilton House in 1599 and the 'Sidney Psalms', Michael G. Brennan; George Gascoigne's and Mary Sidney's versions of Psalm 130, Roy T. Eriksen; God's 'scholer': the Countess of Pembroke's Psalmes and Beza's Psalmorum Davidis... Libri Quinque, Noel J. Kinnamon; The influence of medieval rabbinical commentaries on the Countess of Pembroke's Psalm 58, June Leavitt; The Countess of Pembroke's Ruins of Rome, Anne Lake Prescott; Circulating the Sidney-Pembroke Psalter, Debra Rienstra and Noel Kinnamon; The Sidneys and the Psalms, Theodore L. Steinberg. Part IV Literary Contexts: Multiple Arcadias and the literary quarrel between Fulke Greville and the Countess of Pembroke, Joel Davis; Sidney's 2 riddles, Wendy Gibson; 'The highest matter in the noblest form': the influence of the Sidney Psalms, Ha

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Book SynopsisUntil recently, Anne Clifford has been known primarily for her Knole Diary, edited by Vita Sackville-West, which recounted her steadfast resistance to the most authoritative figures of her culture, including James I, as she insisted on her right to inherit her father''s title and lands. Lucy Hutchinson was known primarily as the biographer of her husband, a Puritan leader during the English Civil Wars. The essays collected here examine not only these texts but, in Clifford''s case, her architectural restorations and both the Great Book which she had compiled and the Great Picture which she commissioned, in order to explore the identity she fashioned for herself as a property owner, matriarchal head of her family, patron and historian. In Hutchinson''s case, recent scholars have turned their attention to her poetry, her translation of Lucretius and her biblical epic, Order and Disorder, to analyze her contributions to early modern scientific and political writing and to place her work iTable of ContentsContents: Introduction; Bibliography; Chronology; Part I Anne Clifford: Anne Clifford as Orlando: Virginia Woolf's feminist historiology and women's biography, Nicky Hallett; Re-writing patriarchy and patronage: Margaret Clifford, Anne Clifford, and Aemilia Lanyer, Barbara K. Lewalski; The agency of the split subject: Lady Anne Clifford and the uses of reading, Mary Ellen Lamb; Anne Clifford and the gendering of history, Mihoko Suzuki; Constructing an identity in prose, plaster, and paint: Lady Anne Clifford as writer and patron of the arts, Alice T. Friedman; The great picture of Lady Anne Clifford, Graham Parry; Marginal maternity: reading Lady Anne Clifford's A Mirror for Magistrates, Stephen Orgel; Early modern (aristocratic) women and textual property, Paul Salzman; Knowing her place: Anne Clifford and the politics of retreat, Susan Wiseman; Serial identity: history, gender and form in the diary writing of Anne Clifford, Megan Matchinske; Construction sites: the architecture of Anne Clifford's diaries, Anne M. Myers. Part II Lucy Hutchinson: 'The colonel's shadow': Lucy Hutchinson, women's writing and the Civil War, N.H. Keeble; Remembering a hero: Lucy Hutchinson's Memoirs of her husband, Derek Hirst; 'But a copie': textual authority and gender in editions of The Life of John Hutchinson, David Norbrook; Maternity, marriage, and contract: Lucy Hutchinson's response to patriarchal theory in Order and Disorder, Shannon Miller; Between atoms and the spirit: Lucy Hutchinson's translation of Lucretius, Reid Barbour; Lucy Hutchinson writing matter, Jonathan Goldberg; Lucy Hutchinson's Elegies and the situation of the republican woman writer (with text), David Norbrook; Polluted palaces: gender, sexuality, and property in Lucy Hutchinson's Elegies, Pamela Hammons; 'Paper frames': Lucy Hutchinson's Elegies and the 17th-century country house poem, Elizabeth Scott-Baumann; Lucy Hutchinson: a life of writing, Robert Mayer; Index.

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Book SynopsisControversy has raged about Christian perspectives on Muslims in Dante’s Divine Comedy. One extreme emphasizes “clash of civilizations,” another peaceful cohabitation. Dante’s fit within orientalism remains debated. Sifting the issues requires investigating the Qur’an and Islamic learning, Dante’s images of Muhammad, and engagement among Muslims, Jews, and Christians in Italy.Trade Review"This volume gathers together some of the major figures in the study of Dante and Islam, including the seminal work of Cantarino and Corti, as well as ground-breaking articles such as Burman on medieval readers of the Latin Qur'an and Mallette on the figure of Muhammad. Dante's visionary poetry is placed in the context of western reception of Arabic literature as well as the dynamic field of Mediterranean Studies. A must-read volume for scholars and students of European views of the Muslim world." -- -Suzanne Conklin Akbari author of Idols in the East: European Representations of Islam and the Orient, 1100-1450Table of ContentsIntroduction Jan Ziolkowski Approaches to a Controversy Dante and Islam: History and Analysis of a Controversy (1965) Vicente Cantarino Dante and Islamic Culture (1999) Maria Corti Dante and Knowledge of the Qur'an Translations of the Qur'an and Other Islamic Texts before Dante (Twelfth and Thirteenth Centuries) Jose Martinez Gazquez How an Italian Friar Read His Arabic Qur'an Thomas Burman Images of Islamic Philosophy and Learning in Dante Philosophers, Theologians, and the Islamic Legacy in Dante: Inferno 4 versus Paradiso 4 Brenda Deen Schildgen Dante and the Falasifa: Religion as Imagination Gregory B. Stone Falconry as a Transmutative Art: Dante, Frederick II, and Islam Daniela Boccassini Images of Muammad in Dante Dante's Muammad: Parallels between Islam and Arianism Maria Esposito Frank Muhammad in Hell Karla Mallette Islam in Dante's Italy Mendicants and Muslims in Dante's Florence John Tolan Dante and the Three Religions Giorgio Battistoni The Last Muslims in Italy David Abulafia Notes Index of references to Dante's major works General Index

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Book SynopsisGail Marshall is Professor of English and Director of the Victorian Studies Centre at the University of Leicester.

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Book SynopsisChristina Luckyj is Professor of English at Dalhousie University, Canada.Trade Review‘This book will be invaluable to anyone teaching this extraordinary play. The essays in the volume furnish detailed investigations of historical contexts and illuminating readings of the play while guiding the reader toward other relevant scholarship. I will certainly have it to hand the next time I teach The Duchess.' -- Professor Elizabeth Hanson, Department of English, Queen's University, CanadaLuckyj's extremely comprehensive and varied collection of essays will ensure that no teacher of the play need feel that they are going into a wilderness. -- The Use of EnglishThis new collection offers a dense, yet surprisingly easy-to-digest survey of literature that I would recommend to any person teaching or researching Webster. -- Erin Ashworth-King, Angelo State University * Sixteenth Century Journal *Table of ContentsSeries Introduction; Timeline and Introduction, Christina Luckyj; 1. The Critical Backstory, David Gunby; 2. Performance History, Roberta Barker; 3. The State of the Art: Critical Approaches 2000-2008, Dympna Callaghan; 4. New Directions: 'Staging Secret Interiors: The Duchess of Malfi as Inns of Court and Anticourt Drama', Curtis Perry and Melissa Water; 5. The Duchess's Marriage in Contemporary Contexts Leah S. Marcus; 6. New Directions: 'Can this be certain?': The Duchess of Malfi's Secrets, Frances E. Dolan; 7. 'Greek is Turned Turk': Catholic Nostalgia in The Duchess of Malfi, Todd Borlik; 8. A Survey of Resources, Christy Desmet; Bibliography; Notes on Contributors; Index.

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisProvides students with an introduction to literature and its context from 1533-1642, including: the historical, cultural and intellectual background including religion, politics, exploration and visual culture; major writers and genres including Spenser, Sidney, Marlowe, Shakespeare and Jonson; explanations of key terms; and more.Trade Review"'[This] series offers both the student reader and teacher exciting and invaluable interventions in and reorientations around questions of history, culture, and period... With brio, verve, and an admirable brevity, the series grounds our understanding of literature and culture in thought-provoking and highly original ways.' Julian Wolfreys, Professor of Victorian Literary and Cultural Studies at the University of Florida."Table of Contents1. Introduction; 2. Historical, Cultural and Intellectual Context; 2.1 Politics and Economics; 2.2 Religion; 2.3 Science and Technology; 2.4 Art and Culture; 2.5 Social Structures; 3. Literature in the Renaissance; 3.1 Poetry; 3.2 Drama; 3.3 Prose; 3.4 Literary Movements; 4. Critical Approaches; 4.1 Historical Overview; 4.2 Key Issues and Debates; 5. Resources for Independent Study; 5.1 Chronology of key historical and cultural events; 5.2 Glossary of key literary terms; 5.3 References and Further Reading; Index.

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a huge range and FREE tracked UK delivery on ALL orders.

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a huge range and FREE tracked UK delivery on ALL orders.

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Book SynopsisThis book reveals the philosophy which enabled Shakespeare to write of such universal themes as the harmony and disharmony between nations and princes, and the inner conflicts of mind and soul in men and women whose natures and desires are not confined to any particular age.

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Book SynopsisOf the articles in this volume, eight concern a world-famous author (Franà ois Rabelais); the others are studies of little-known authors (Cortesi, Corrozet, Mercier) or genres (the joke, the apophthegm). The common theme, in all but one, is humour: how it was defined, and how used, by orators and humanists but also by court jesters, princes, peasants and housewives. Though neglected by historians, this subject was of crucial importance to writers as different as Luther, Erasmus, Thomas More and Franà ois Rabelais. The book is divided into four sections. 'Humanist Wit' concerns the large and multi-lingual corpus of Renaissance facetiae. The second and third parts focus on French humanist humour, Rabelais in particular, while the last section is titled 'Serious Humanists' because humour is by no means absent from it. For the Renaissance, as Erasmus and Rabelais amply demonstrate, and as the 'minor' authors studied here confirm, wit, whether affectionate or bitingly satirical, can coexist with, and indeed be inseparable from, serious purpose. Rabelais, as so often, said it best: 'Rire est le propre de l'homme.'Trade Review'... the volume is a further tribute to a scholar the breadth and depth of whose researches have long been an example to us all.' Renaissance Studies 'The main reason for scholarly neglect of old jokes is presumably that they are no longer funny, but Bowen reminds us by both precept and example that this does not make them any the less interesting.' Sixteenth Century JournalTable of ContentsContents: Preface; Humanist Wit: Renaissance collections of facetiae, 1344-1490: a new listing; Renaissance collections of facetiae, 1499-1528: a new listing; Roman jokes and the Renaissance prince, 1455-1528; Ciceronian wit and Renaissance rhetoric; The collection of facezie attributed to Angelo Poliziano; Paolo Cortesi's laughing cardinal; Festive humanism: the case of Luscinius; Rabelais: Rire est le propre de l'homme; Rabelais's Panurge as homo rhetoricus; Rabelais et le propos torcheculatif; Lenten eels and Carnival sausages; Bragueta juris: notes sur Rabelais et le droit; Rabelais and the Library of Saint-Victor; Janotus de Bragmardo in the limelight (Gargantua, ch. 19); Rabelais and Folengo once again; French Humanist Humour: 'Honneste' et sens de l'humour au XVIe siècle; Facétie/sententia/apophtegme: les Divers propos memorables de Gilles Corrozet; Tabourot facetus: le sieur Gaulard; 'Lasciuetez' et scatologie: la rhétorique des Escraignes dijonnoises; Béroalde de Verville and the self-destructing book; 'Il faut donner dedans': sexe ou/et rhétorique dans le Moyen de parvenir; 'Serious' Humanists: Geofroy Tory's Champ Fleury and its major sources; Cornelius Agrippa's De vanitate: polemic or paradox?; Jacques Tahureau revisited; Emblems, elephants, and Alexander; Index.

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Book SynopsisThe essays in this volume deal with the history of rhetoric and education for the thousand years from the early Middle Ages to the European Renaissance. They represent the author's pioneering efforts over four decades to piece together a kind of mosaic which will provide elements necessary to construct a history of that thousand years of language activity. Some essays deal with individual writers like Giles of Rome, Peter Ramus, Gulielmus Traversanus, or Antonio Nebrija, some focus on the influence of Cicero and Quintilian and other ancient sources. The essays dealing specifically with education open up different inquiries into the ways language use was promoted, and by whom. Others explore the relations between Latin rhetoric and medieval English literature and, finally, several deal with the impact of printing, a subject still not completely understood.Table of ContentsContents: Preface. The Middle Ages: Western rhetoric in the Middle Ages; The rhetorical lore of the Boceras in Byhrtferth's Manual; The teaching of Latin as a second language in the 12th century; Two medieval textbooks in debate; The scholastic condemnation of rhetoric in the commentary of Giles of Rome on the Rhetoric of Aristotle; Dictamen as a developed genre: the 14th century 'Brevis doctrina dictaminis' of Ventura da Bergamo (with David Thomson); Quintilian's influence on the teaching of speaking and writing in the Middle Ages and Renaissance; Poetry without genre: the metapoetics of the Middle Ages; Rhetoric in 14th-century Oxford. Applications of Latin Rhetoric in Medieval English Literature: A new look at Chaucer and the Rhetoricians; John Gower's Confessio Amantis and the first discussion of rhetoric in the English language; Rhetoric and dialectic in The Owl and the Nightingale. The Renaissance: One thousand neglected authors: the scope and importance of Renaisance rhetoric; Rhetoric in the earliest days of printing, 1465-1500; Caxton's two choices: 'Modern' and 'Medieval' rhetoric in Traversagni's Nova Rhetorica and the anonymous Court of Sapience; Ciceronian influences in Latin rhetorical compendia of the 15th century; Raffaele Regio's 1492 Quaestio doubting Cicero's authorship of the Rhetorica ad Herennium: introduction and text (with Michael Winterbottom); The double revolution of the first rhetorical textbook published in England: The Margarita Eloquentiae of Gulielmus Traversagnus (1479); Antonio Nebrija in the European rhetorical tradition; The relation between Omer Talon's Institutiones Oratoriae (1545) and the Rhetorica (1548) attributed to him; Index.

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Book SynopsisA companion to volume 1, Hamlet: Shakespeare: The Critical Tradition, Volume 2 presents key critical accounts of Hamlet from 1885-1964. The volume offers, in separate sections, both critical opinions about the play across the centuries and an evaluation of their positions within and their impact on the reception of the play. The volume features criticism from leading literary figures, such as Sigmund Freud, T.S. Eliot, A.C. Bradley, Helena Faucit Saville and Matthew Arnold. The chronological arrangement of the text-excerpts engages the readers in a direct and unbiased dialogue, whereas the introduction offers a critical evaluation from a current stance, including modern theories and methods. The volume makes a major contribution to our understanding of the play and of the traditions of Shakespearean criticism surrounding it as they have developed from century to century.

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Book SynopsisEating Shakespeare provides a constructive critical analysis of the issue of Shakespeare and globalization and revisits understandings of interculturalism, otherness, hybridity and cultural (in)authenticity. Featuring scholarly essays as well as interviews and conversation pieces with creatives including Geraldo Carneiro, Fernando Yamamoto, Diana Henderson, Mark Thornton Burnett, Samir Bhamra, Tajpal Rathore, Samran Rathore and Paul Heritage it offers a timely and fruitful discourse between global Shakespearean theory and practice. The volume uniquely establishes and implements a conceptual model inspired by non-European thought, thereby confronting a central concern in the field of Global Shakespeare: the issue of Europe operating as a geographical and cultural centre' that still dominates the study of Shakespearean translations and adaptations from a periphery' of world-wide localities. With its origins in 20th-century Brazilian modernism, the concept of Cultural AnthropophTrade ReviewConsistently interesting and excellently articulated … Whether one is a Shakespeare scholar, a theatre practitioner, a creative writer, or simply an anthropology enthusiast, this book contains enough nutrients to sustain multiple explorations not only from the alleged ‘periphery’ of Global Shakespeares but also productions closer to home in the ‘centre’ of Shakespeare studies. * SKENÈ Journal of Theatre and Drama Studies *Table of ContentsList of Illustrations Notes on Contributors Acknowledgements Foreword, David Schalkwyk Anne Sophie Refskou, Marcel Amorim and Vinicius Mariano de Carvalho, Introduction Dialogue I: Shakespeare and Cultural Anthropophagy in Practice Geraldo Carneiro and Vinicius de Carvalho, ‘We are all Cannibals: Reflections on Translating Shakespeare’ Víctor Huertas Martín, ‘Miguel Del Arco’s Las Furias (2016): Cultural Anthropophagy as Adaptation Practice and as Metafiction’ ‘Devouring Shakespeare in North-Eastern Brazil’: Clowns de Shakespeare director Fernando Yamamoto in Conversation with Paulo da Silva Gregório Cristiane Busato Smith, ‘Cannibalizing Hamlet in Brazil: Ophelia meets Oxum’ Dialogue II: Global Conversations and Intricate Intersections ‘De-centring Shakespeare, incorporating Otherness’: Diana Henderson in conversation with Koel Chatterjee Marcel Alvaro de Amorim, ‘Transconstructing Shakespeare’ ‘Past and Present Trajectories for Global Shakespeare’: Mark Thornton Burnett in Conversation with Anne Sophie Refskou Dialogue III: Insiders and Outsiders Varsha Panjwani, ‘Tupi or not Tupi’: Conversations with Brasian Shakespeare Directors’ Anne Sophie Refskou, ‘”Not where he eats, but where he is eaten”: Rethinking Otherness in (British) Global Shakespeare’ Eleine Ng, Rojak Shakespeare, ‘Devouring the Self and Digesting Otherness on the Singaporean Stage’ Dialogue IV: Re-cultivating and Re-Disseminating Shakespeare Beyond the Institution Aimara Resende, ‘Engrafting Him New: Educating for Citizenship via Shakespeare in a Rural Area in Brazil’ ‘Cultural Anthropophagy and the De-institutionalization of Shakespeare’: Paul Heritage in conversation with Vinicius de Carvalho Afterword: Alfredo Michel Modenessi Notes References Index

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Book SynopsisYuichi Tsukada is Associate Professor of English at Doshisha University, Japan. He received his BA and MA from the University of Tokyo and his PhD from King's College London. His journal articles on Shakespeare have won him fellowships and awards, including the Young Scholar Award of Special Merit from the English Literary Society of Japan.Trade ReviewTsukada (Doshisha Univ., Japan) offers a thoroughgoing political reading of four plays Shakespeare wrote in the period from 1606 to 1610: Macbeth, Antony and Cleopatra, Coriolanus, and Cymbeline. Tsukada views each work as reflecting aspects of the contemporaneous response to the death of Queen Elizabeth in 1603. Thus the “two Caesarean prophecies” in the Scottish play “dramatically stage the replacement of the diseased, barren mother with the fertile father in a way that recalls James’s political vision of launching Jacobean England from Elizabeth’s barren body politic” (p. 50). Tsukada demonstrates the vigor of debate in these years over Elizabeth: some authors looked back with nostalgia on her warlike female stance, whereas others mocked her courtly poses and preferred the pacific posture assumed by her successor. Some of Tsukada’s readings have been offered before, as the fine full notes duly indicate; others will be new even to specialists. Shakespeare is seen as reflecting views of the age, unlike other writers cited, all of whom seem to come down on one side or the other of the debate. This volume will prove useful to those eager to ponder the merits and limits of such thoroughgoing political interpretation. Summing Up: Recommended. * Choice *This is an exciting re-evaluation of Shakespeare’s engagement with the icon of Elizabeth I in his Jacobean plays. It examines the tropes of Elizabeth as a warlike queen, an imperilled princess and a bringer of peace as they were contested within Jacobean politics and culture. The book reveals a much more subtle and ambivalent response to Elizabeth by Jacobean Shakespeare than has previously been acknowledged. -- Jane Kingsley-Smith, University of Roehampton, London, UKThough Tsukada's book approaches the topic of Jacobean politics through an analysis of Shakespeare's work, it would be a good read for anyone interested in early modern politics and drama. * Renaissance Quarterly *Yuichi Tsukada’s insightful Shakespeare and the Politics of Nostalgia reexamines the dead queen’s reputation during the early years of the reign of her successor. He does not seek, however, merely to read Shakespeare’s characters as versions of Elizabeth, but to examine the plays’ participation in debates about cultural memory and representation. * SEL Studies in English Literature 1500-1900 *Through this engaging and methodical study, Yuichi Tsukada illustrates just how nebulous and complex the evocations of Elizabeth I could be in Jacobean drama. Although Shakespeare is the primary focus, the readings of other contemporary texts are also compelling and vividly, if briefly, drawn, and it is clear by the end of the study that the ghost of Elizabeth I would, contrary to the authors seeking to silence her, continue to haunt her successor and her country. * Theatre Journal *Table of ContentsAcknowledgements A Note on Texts Introduction 1 Macbeth: Performing a Caesarean Section on the Mother Country 2 Antony and Cleopatra: The Competition for Representing the Queen 3 Coriolanus: Disarming the Memory of Elizabethan England 4 Cymbeline: The Politics of Remembering the Besieged Heroine Epilogue Bibliography Index

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Book SynopsisThis new volume in Shakespeare: The Critical Tradition increases our knowledge of how Shakespeare's plays were received and understood by critics, editors and general readers. Updated with a new introduction providing a survey of critical responses to the plays since the late 1930s to the present day, the volume offers, in separate sections, both critical opinions about the play across the centuries and an evaluation of their positions within and their impact on the reception of the play. The chronological arrangement of the text-excerpts engages the readers in a direct and unbiased dialogue, whereas the introduction offers a critical evaluation from a current stance, including modern theories and methods. Thus the volume makes a major contribution to our understanding of the play and of the traditions of Shakespearean criticism surrounding it as they have developed from century to century.Table of ContentsGeneral Editor's Preface Preface Acknowledgements Introduction Introduction to the new edition 1. Commentary on King John, 1790 2. Response to Malone, 1792 3. Response to Malone, 1793 4. On the date of King John, 1799 5. Character and Characterization, 1808 6. Personality and Politics, 1815 7. Shakespeare's art of characterization, 1817 8. History and Character, 1817 9. Prefatory remarks on King John, 1819 10. The Troublesome Raigne and King John, 1824 11. Introduction to King John, 1826 12. Prefatory remarks on King John, 1826 13. Sarah Siddons as Constance, 1827 14. The character of Constance, 1832 15. Sarah Siddons on Constance, 1834 16. General remarks on King John, 1838 17. King John and history, 1838 18. The Pictorial Edition of King John, 1838 19. The female roles in King John, 1843 20. Editorial corrections in King John, 1845 21. 'History', church and state in King John, 1846 22. Critical remarks on King John, 1847 23. Critical notes on King John, 1851 24. History, art and character in King John, 1852 25. Introduction to King John, 1852 26. History and character, 1855 27. King John and nationalism, 1856 28. The madness of Constance, 1859 29. Background and critical notes to King John, 1859 30. Characterization, craft, and the philosophy of war, 1863 31. Politics, ethics and character, 1863 32. The politics of national interest, 1865 33. The transcendent sorrow of Constance, 1868 34. National interest and personal loyalty, 1871 35. King John and contemporary politics, 1874 36. The baseness of John, 1875 37. Shakespeare's art of characterization, 1875-6 38. Constance and the nature of woman, 1876 39. King John, Richard III, and character, 1877 40. The theme of nationality, 1877 41. King John and Roman Catholicism, 1877 42. Literary and historical background to King John, 1878 43. Shakespeare's adaptation of The Troublesome Raigne, 1878 44. High praise for King John, 1879 45. On Pandulph and history, 1887 46. On commodity, 1887 47. A balanced assessment of King John, 1888 48. On Constance and Arthur, 1889 49. Kingship, personality, and the human condition, 1889 50. The artistic excellence of King John, 1890 51. The Troublesome Raigne and King John, 1892 52. On Constance, Elinor and Blanch, 1894 53. Historical character and dramatic character, 1894 54. The oddities of King John, 1894 55. On the principal characters, 1896 56. Shakespeare's uneven artistry, 1898 57. Shakespeare's Roman Catholicism, 1899 58. Shakespeare's maturing artistry, 1899 59. King John as a transitional play, 1900 60. Weaknesses and strengths of King John, 1900 61. The character of John, 1901 62. Shakespeare and Davenport, 1902 63. The pendulum of history in King John, 1903 64. The formlessness of King John, 1906 65. Shakespeare's dramatic development, 1907 66. On the religion of Shakespeare, 1907 67. Introduction to King John, 1907 68. King John and Richard II, 1907 69. The belittling of John, 1910 70. Constance and Shakespeare's shrewish wife, 1911 71. On treachery and 'Englishness', 1911 72. On John, Faulconbidge, and Constance, 1913 73. Shakespeare's use of The Troublesome Raigne, 1913 74. The artistic flaws of King John, 1913 75. On the Bastard, John and the play, 1919 Notes A Select Bibliography Index

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Book SynopsisDavid McInnis is Associate Professor of Shakespeare and Early Modern Drama at the University of Melbourne, Australia.Contributors include Claire M. L. Bourne (Pennsylvania State University, USA), Matthew Dimmock (University of Sussex, UK), Peter Kirwan (University of Nottingham, UK), Tom Rutter (University of Sheffield, UK), Liam E. Semler (University of Sydney, Australia), M. L. Stapleton (Purdue University, USA), Sydnee Wagner (City University of New York, USA) and Sarah Wall-Randell (Wellesley College, USA).Trade ReviewThe true genius of this collection is in its Janusian perspective ... Tamburlaine: A Critical Reader serves as a concise but impressive review of Tamburlaine’s history in past decades, a time capsule recording the current state of the field, and an optimistic forecast of what we may see in decades to come. * Marlowe Society of America *Table of ContentsAcknowledgments Series Introduction Notes on Contributors Introduction David McInnis, University of Melbourne, Australia 1 Tamburlaine, 1587-2000: A Reception History M. L. Stapleton, Purdue University, USA 2 ‘The Critical Landscape, 2000-Present’ Sarah Wall-Randell, Wellesley College, USA 3 ‘High astounding terms’: Tamburlaine and Tamburlaine on stage Peter Kirwan, University of Nottingham, UK 4 New Directions: Mending Tamburlaine Claire M. L. Bourne, Pennsylvania State University, USA 5 New Directions: Tamburlaine the Weather Man Tom Rutter, University of Sheffield, UK 6 New Directions: Towards a Racialized TamburlaineSydnee Wagner, The Graduate Center, CUNY, USA 7 New Directions: Retooling Timür Matthew Dimmock, University of Sussex, UK 8 Three Tents for Tamburlaine: Resources and Approaches for Teaching the Play Liam E. Semler, University of Sydney, Australia Works Cited and Selected Further Reading Index

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Book SynopsisThis revised edition of King Richard II: Critical Tradition increases our the play was received and understood by critics, editors and general readers. Updated with a new introduction providing a survey of critical responses to Richard II since the 1990s to the present day, this volume offers, in separate sections, both critical opinions about the play across the centuries and an evaluation of their positions within and their impact on the reception of the play. The updated introduction offers an overview of recent criticism on the play in relation to feminist theory, queer theory, performance theory and ecocriticism. The chronological arrangement of the text-excerpts engages the readers in a direct and unbiased dialogue, whereas the introduction offers a critical evaluation from a current stance, including modern theories and methods. Featuring criticism by A.C. Swinburne, Walter Pater, Oscar Wilde and W.B. Yeats, this volume makes a major contribution to our undeTable of ContentsGENERAL EDITOR'S PREFACE PREFACE ACKNOWLEDGEMENTS INTRODUCTION TO REVISED EDITION INTRODUCTION 1 EDWARD CAPELL, various notes on Richard II, 1780 2 EDMOND MALONE and others, supplementary remarks on Richard II, 1780 3 THOMAS DAVIES, on the deposition scene in Richard II, 1784 4 EDMOND MALONE, edition of Shakespeare, 1790 5 JOSEPH RITSON, Shakespeare's part-authorship of Richard II and other notes, 1793 6 GEORGE STEEVENS, notes on Richard II, 1793 7 GEORGE CHALMERS, on the date and political significance of Richard II, 1799 8 CHARLES DIBDIN, Richard II inferior to Richard III, 1800 9 FRANCIS DOUCE, Richard II and the memento mori tradition, 1807 10 CHARLES LAMB, Marlowe's Edward II compared to Richard II, 1808 11 SAMUEL TAYLOR COLERIDGE, on Richard II and the history play, 1813 12 WILLIAM HAZLITT, a critique of Edmund Kean as Richard II, 1815 13 RICHARD WROUGHTON, advertisement of an adaptation of Richard II, 1815 14 A.W. VON SCHLEGEL, Richard II and the unity of Shakespeare's history plays, 1815 15 NATHAN DRAKE, a sympathetic view of Richard II, 1817 16 WILLIAM HAZLITT, characterization in Richard II, 1817 17 JOHN HAMILTON REYNOLDS, the poetry of Richard II and the other histories, 1817 18 AUGUSTINE SKOTTOWE, Richard II and the truth of history, 1824 19 GEORGE DANIEL, prefatory remarks on Richard II, 1831 20 HENRY NELSON COLERIDGE, another version of Coleridge on Richard II, 1836 21 HENRY HALLAM, on the scene of Aumerle's pardon in Richard II, 1837-9 22 THOMAS CAMPBELL, general comments on Richard II, 1838 23 THOMAS PEREGRINE COURTENAY, Richard II and history, 1838 24 CHARLES KNIGHT, the pictorial edition of Richard II, 1838 25 JOHN PAYNE COLLIER, on the existence of two plays on Richard II’s reign, 1842 26 HERMANN ULRICI, kingship and the morality of Richard II, 1846 27 GULIAN C. VERPLANCK, critical remarks on Richard II, 1847 28 HARTLEY COLERIDGE, a comment on Richard II, 1851 29 FRANCOIS P.G. GUIZOT, history, character, and divine right in Richard II, 1852 30 HENRY N. HUDSON, historical truth and characterization in Richard II, 1852 31 HENRY REED, history as tragedy in Richard II, 1855 32 WILLIAM WATKISS LLOYD, the political morality of Richard II, 1856 33 RICHARD GRANT WHITE, Richard II, Daniel's Civil Wars, and the play's date, 1859 34 G.G. GERVINUS, the characterization and artistry of Richard II, 1863 35 JOHN A. HERAUD, the play's divided authorship and Shakespeare's attitude to divine right, 1865 36 HENRY N. HUDSON, further observations on Richard II, 1872 37 RICHARD SIMPSON, Richard II and Elizabethan politics, 1874 38 EDWARD DOWDEN, the immaturity of Richard II and the realism of Bolingbroke, 1875 39 A.C.SWINBURNE, an unsympathetic view of Richard II, 1875 40 FJ. FURNIVALL, the topicality of Richard II and the character of its protagonist, 1877 41 DENTONJ. SNIDER, Richard II and the right of revolution, 1877 42 P.A. DANIEL, time problems in Richard II, 1879 43 OSCAR WILDE, Shakespeare's concern with costume in Richard II, 1885 44 A.W. VERITY, Marlowe's influence on Richard II, 1886 45 RICHARD GRANT WHITE, Richard II/and Richard II compared, 1886 46 HAVELOCK ELLIS, on the inferiority of Richard II to Marlowe's Edward II, 1887 47 FRANK A. MARSHALL, the theatrical weakness of Richard II, 1888 48 WALTER PATER, ritual and lyricism in Richard II, 1889 49 P.A. DANIEL, a nonpolitical reason for omitting the deposition scene from the early quartos of Richard II, 1890 50 CYRIL RANSOME, character disclosure and dramatic symmetry in Richard II, 1890 51 E.K. CHAMBERS, the artistry of Richard II, 1891 52 C.H. HERFORD, miscellaneous comments on Richard II, 1893 53 BEVERLEY E. WARNER, characterization and history in Richard II, 1894 54 BARRETT WENDELL, Richard II as an archaic masterpiece, 1894 55 FREDERICK S. BOAS, diseased will and sentimentalism in Richard II, 1896 56 GEORGBRANDES, Edward II and Richard II contrasted, 1898 57 C.E. MONTAGUE, on F.R. Benson's portrayal of Richard II, 1899 58 SIDNEY LEE, Benson's Richard II and the acting of minor roles, 1900 59 W.B. YEATS, Richard II and Henry V as emblems of refinement and vulgarity, 1901 60 FREDERICKS. BOAS, the relation of Woodstock to Richard II, 1902 61 FELIX E. SCHELLING, Shakespeare's independence in Richard II, 1902 62 H.F. PREVOST BATTERSBY, on Herbert Beerbohm Tree's Richard II, 1903 63 RICHARD G. MOULTON, Richard II, the divine right of kings, and the pendulum of history, 1903 64 A.C. SWINBURNE, an iconoclastic view of Richard II, 1903 65 A.C. BRADLEY, on Richard II and tragedy, 1904 66 STOPFORD A. BROOKE, purgation through tragic suffering in Richard II, 1905 67 MORTON LUCE, Richard II a disappointing failure, 1905 68 GEORGE PIERCE BAKER, Richard II and the weaknesses and strengths of the chronicle play, 1907 69 SIR WALTER RALEIGH, weakness and the philosophic strain in the character of Richard II, 1907 70 GEORGE SAINTSBURY, Richard II as an imperfect but rhetorically unique drama, 1907 71 ASHLEY H. THORNDIKE, structure, style, and characterization in Richard II, 1908 72 A.C. BRADLEY, further comments on Richard II, 1909 73 G.S. GORDON, patriotism and the absence of moral order in Richard II, 1909 74 CHARLOTTE PORTER, the subtle artistry of act I, 1910 75 C.F. TUCKER BROOKE, miscellaneous comments on Richard II, 1911 76 JOHN MASEFIELD, Richard II as a tragedy of double treachery, 1911 77 HARDIN CRAIG, from an introduction to Richard II, 1912 78 IVOR B.JOHN, from an introduction to Richard II, 1912 79 BRANDER MATTHEWS, dramaturgical weakness and psychological strength in Richard II, 1913 80 LACY COLLISON-MORLEY, Alessandro Manzoni's anti-classical perspective on Richard II, 1916 81 WILHELM CREIZENACH, miscellaneous comments on Richard II, 1916 82 J.A.R. MARRIOTT, historical context and Richard II as a tragedy of political amateurism, 1918 NOTES SELECT BIBLIOGRAPHY INDEX

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Book SynopsisThe Tempest: Critical Tradition increases our knowledge of how Shakespeare's plays were received and understood by critics, editors and general readers. The volume offers, in separate sections, both critical opinions about the play across the centuries and an evaluation of their positions within and their impact on the reception of the play. The volume features criticism from key literary figures, such as Ben Jonson, Samuel Taylor Coleridge, John Dryden, John Ruskin and Edward Malone. The chronological arrangement of the text-excerpts engages the readers in a direct and unbiased dialogue, whereas the introduction offers a critical evaluation from a current stance, including modern theories and methods. Thus the volume makes a major contribution to our understanding of the play and of the traditions of Shakespearean criticism surrounding it as they have developed from century to century.Table of ContentsGENERAL EDITORS' PREFACE PERMISSIONS ACKNOWLEDGEMENTS I INTRODUCTION II THE CRITICAL TRADITION 1. EDMOND MALONE, date of composition, 1790 2. WILLIAM TAYLOR, as tragicomedy, 1795 3. GEORGE CHALMERS, New World voyages, 1795 4. EDMOND MALONE, Virginia Voyages,1808 5. AUGUST WILHELM SCHLEGEL, as poetry, 1809-11 6. SAMUEL TAYLOR COLERIDGE, commentary, 1811-12 7. WILLIAM HAZLITT, commentary, 1817 8. EDMOND MALONE, Caliban as savage, 1821 9. CHARLES LAMB, The Tempest staged,1822 10. ANNA JAMESON, on Miranda, 1832 11. SAMUEL TAYLOR COLERIDGE, as romantic drama, 1836 12. THOMAS CAMPBELL, Shakespeare as Prospero, 1838 13. JOSEPH HUNTER, the Mediterranean, 1839 14. WASHINGTON IRVING, The Tempest and America, 1840 15. PATRICK MACDONNELL, on Caliban, 1840 16. CHARLES KNIGHT, commentary, 1843 17. HERMANN ULRICI, the wonderful and the real, 1846 18. W.J. BIRCH, religion, 1848 19. JOHN RUSKIN, slavery, 1872 20. DANIEL WILSON, Caliban as the ‘missing link’, 1873 21. EDWARD DOWDEN, Shakespeare as Prospero, 1875 22. A.C. SWINBURNE, commentary, 1880 23. FRANCES ANNE KEMBLE, commentary, 1882 24. HORACE HOWARD FURNESS, on Caliban, 1895 25. GEORGE BERNARD SHAW, review, 1897 26. RUDYARD KIPLING, commentary, 1898 27. FRANK BRISTOL, The Tempest and America, 1898 28. LUCE MORTON, commentary, 1901 29. ASHLEY THORNDIKE, the influence of Beaumont and Fletcher, 1901 30. EVERETT EDWARD HALE, commentary, 1903 31. W.W. NEWELL, The Tempest and folk tale, 1903 32. MAX BEERBOHM, theater review, 1903 33. A.C. BRADLEY, the transitory nature of things, 1904 34. BROOKE STOPFORD, commentary,1905 35. LYTTON STRACHEY, Shakespeare’s final period, 1906 36. HENRY JAMES, commentary, 1907 37. SIDNEY LEE, The Tempest and America, 1907 38. WALTER RALEIGH, Shakespeare’s last phase, 1907 39. JOHN CHURTON COLLINS, Christian symbolism ,1908 40. F.H. RISTINE, tragi-comedy, 1910 41. SIDNEY LEE, Caliban as a Native American, 1913 42. RACHEL KELSEY, New World influences, 1914 43. ARTHUR QUILLER-COUCH, the first performance, 1917 44. CHARLES GAYLEY, political ideas, 1917 45. JOHN REA, Erasmus’ influence on the storm scene, 1919 46. ERNEST LAW, the Blackfriars Theatre, 1920 47. COLLIN STILL, as allegory, 1921 48. JOSE ENRIQUE RODÓ, Ariel and Caliban as symbols, 1922. 49. RICHARD NOBLE, songs, 1923 50. ENID WELSFORD, the court masque, 1927 51. E.K. CHAMBERS, sources, 1930-31 52. WILSON KNIGHT, tempests and music, 1932 53. E.M.W. TILLYARD, commentary, 1936 54. JOHN MIDDLETON MURRY, nurture and change, 1936 55. F.R. LEAVIS, reality, 1942 56. THEODORE SPENCER, ordering of characters, 1942 57. WILSON KNIGHT, commentary, 1947 58. G.E. BENTLEY, the Blackfriars Theatre, 1948 59. JAMES NOSWORTHY, structure and sources,1948 60. DEREK TRAVERSI, artistic and moral purpose, 1949 61. NEVILL COGHILL, Christian myth, 1950 62. FRANK KERMODE, commentary ,1954 III SELECT BIBLIOGRAPHY Index

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Book SynopsisSuzanne Magnanini is Associate Professor of Italian at the University of Colorado, Boulder, USA.Table of ContentsList of Illustrations Series Preface Introduction: Fairy Tales in the Age of the Marvelous World Suzanne Magnanini 1. Forms of the Marvelous: Ring and Riddle in the Shakespearean Marriage Tale Kevin Pask 2. Adaptations: Prose Stories Dressed in Ottoman Attire N. Ipek Hüner Cora 3. Gender and Sexuality: Gender and Sexuality in the Fairy Tales of Straparola and Basile Cristina Mazzoni 4. Humans and Non-Humans: Animal Bridegrooms and Brides in Japanese Otogizoshi Laura Nüffer 5. Monsters and the Monstrous: Witches and Werewolves in Early Modern French and Italian Tales Kathleen P. Long 6. Spaces: Geographies of the Fairy Tale in Giambattista Basile’s The Tale of Tales Davide Papotti 7. Socialization: Civilizing the Fairy Tale in Early Modern Italy Suzanne Magnanini 8. Power: Abuse of Power, Gender, and Race in Tales by Straparola and Basile Armando Maggi Notes Bibliography Notes on Contributors Index

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Book SynopsisTable of ContentsList of Illustrations Notes on Contributors Series Preface Introduction: The Emergence of the Classic Fairy-Tale Tradition Anne E. Duggan, Wayne State University, USA Chapter 1: The Age of the merveilleux: Forms of Marvelous in the Eighteenth Century Tatiana Korneeva, University of Venice and Freie Universität Berlin Chapter 2: Fairy-Tale Adaptations in the Long Eighteenth Century Charlotte Trinquet du Lys, University of Central Florida, USA Chapter 3: Gender and Sexuality Aileen Douglas, Trinity College Dublin, Ireland Chapter 4: The Human and the Non-Human in Fairy Tales, 1650-1800 Lewis C. Seifert, Brown University, USA Chapter 5: Monsters and the Monstrous: Of Ogre Pyramids, Ruby-Eyed Dragons, and Gnomes with Crooked Spines Kathryn A. Hoffmann, University of Hawai‘I, USA Chapter 6:Space and Narrative Strategies in Eighteenth-Century Tales in East and West Richard van Leeuwen, University of Amsterdam, Netherlands Chapter 7: Slight Channels: Socialization in Tales of Wonder Rania Huntington, University of Wisconsin, Madison, USA Chaper 8: Political and Social Power in Fairy and Oriental Tales Anne E. Duggan, Wayne State University, USA Notes Bibliography Index

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Book SynopsisKevin J. Donovan, professor of English at Middle Tennessee State University, USA, has co-edited collections of essays on Milton and scholarly editions of Shakespeare and early Irish drama, as well as various essays on Ben Jonson and other early modern dramatists.Table of ContentsGeneral Editor's Preface General Editor's Preface to the Revised Series Acknowledgements Introduction The Critical Tradition Texts Select Bibliography Index

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Book SynopsisHow does our understanding of early modern performance, culture and identity change when we decentre Shakespeare? And how might a more inclusive approach to early modern drama help enable students to discuss a range of issues, including race and gender, in more productive ways?Underpinned by these questions, this collection offers a wide-ranging, authoritative guide to research on drama in Shakespeare's England, mapping the variety of approaches to the context and work of Shakespeare and his contemporaries. By paying attention to repertory, performance in and beyond playhouses, modes of performance, and lost and less-studied plays, the handbook reshapes our critical narratives about early modern drama. Chapters explore early modern drama through a range of cultural contexts and approaches, from material culture and emotion studies to early modern race work and new directions in disability and trans studies, as well as contemporary performance. Running through the collection is a sharedTrade ReviewThe volume offers a very valiant and successful attempt to solve perhaps the biggest problem facing people who write about early modern drama today: now we know so much how do we distil it? There is not a weak essay to be seen. The book will prove an invaluable resource. * Lisa Hopkins, Sheffield Hallam University, UK *Table of ContentsList of Illustrations Notes on Contributors Series Preface Acknowledgements Note on the Text 1 Introduction Michelle M. Dowd (University of Alabama, USA) and Tom Rutter (University of Sheffield, UK) 2 Material and Institutional Contexts of Early Modern Drama: an A-Z Edward Gieskes (University of South Carolina, USA) RESEARCH METHODS AND PROBLEMS 3.1 Did Early Modern Drama Actually Happen? Kurt Schreyer (University of Missouri, USA) 3.2 Drama and Society in Shakespeare’s England Jean E. Howard (Columbia University, USA) CURRENT RESEARCH AND ISSUES 4.1 Ancient and Early Modern European Contexts of Early Modern English Drama Ton Hoenselaars (Utrecht University, Netherlands) 4.2 Playing Companies and Repertories Elizabeth E. Tavares (University of Alabama, USA) 4.3 Playhouses and Performance Laurie Johnson (University of Southern Queensland, Australia) 4.4 Drama Beyond the Playhouses Tracey Hill (Bath Spa University, UK) 4.5 Material Culture Chloe Porter (University of Sussex, UK) 4.6 Engendering the Stage: Women and Dramatic Culture Clare McManus (University of Roehampton, UK) and Lucy Munro (King’s College, London, UK) 4.7 Matter, Nature, Cosmos: the Scientific Art of the Early Modern English Stage Jean Feerick (John Carroll University, USA) 4.8 Early Modern Race-work: History, Methodology and Politics Jane Hwang Degenhardt (University of Massachusetts, USA) 4.9 Sexualities, Emotions and Embodiment Holly Dugan (George Washington University, USA) 4.10 Religion and Religious Cultures Benedict S. Robinson (Stony Brook University, USA) NEW DIRECTIONS 5.1 Diversifying Early Modern Drama Part One: Early Modern Disability Studies and Trans Studies Genevieve Love (Colorado College, USA) Part Two: Gaining Perspective: Race, Diversity and Early Modern Studies Farah Karim-Cooper (King's College, London, UK) 5.2 Performing Shakespeare’s Contemporaries Harry McCarthy (Jesus College, University of Cambridge, UK) CHRONOLOGY AND RESOURCES 6 Rethinking the Early Years of the London Playhouses: An Essay in Chronology Andy Kesson (University of Roehampton, UK) 7 Resources Catherine Evans (University of Manchester, UK) and Amy Lidster (Jesus College, University of Oxford, UK) 8 Further Reading Michelle M. Dowd (University of Alabama, USA) and Tom Rutter (University of Sheffield, UK) Index

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Book SynopsisIn this study, William C. Carroll analyses a wide range of adaptations and appropriations of Macbeth across different media to consider what it is about the play that compels our desire to reshape it. Arguing that many of these adaptations attempt to improve' or correct' the play's perceived political or aesthetic flaws, Carroll traces how Macbeth's popularity and adaptability stems from several of its formal features: its openly political nature; its inclusion of supernatural elements; its parable of the dangers of ambition; its violence; its brevity; and its domestic focus on a husband and wife. The study ranges across elite and popular culture divides: from Sir William Davenant's adaptation for the Restoration stage (16634), an early 18th-century novel, The Secret History of Mackbeth and Verdi''s Macbeth, through to 20th- and 21st-century adaptations for stage and screen, as well as contemporary novelizations, young adult literature and commercial appropTrade ReviewThis impeccably researched, detailed book has much to offer to anyone studying, teaching, directing or taking part in what is probably Shakespeare’s best known play. * Ink Pellet *Offers a rich compendium of examples, providing both a resource for and an invitation to readers and researchers to explore further themselves. * Shakespeare Survey *Carroll’s net is cast wide and there are chapters on the novel, global and racial Macbeths, as well as musical versions. Stage and cinematic adaptations figure throughout. Geographically, the range is impressive—no fewer than thirty different countries are mentioned … [Carroll] has a fluent grasp of this play’s multitudinous reincarnations. This elegant study will surely become a model of condensation and explication of the continuing cultural presence of Shakespeare’s apparently immortal literary artefacts. * Adaptation *Table of ContentsList of Illustrations Acknowledgements Note on Text Introduction: Macbeth and Mackbeth, the prequel 1 Political Macbeth 2 ‘The gracious Duncan’ and ‘our eldest, Malcolm’ 3 The return of Fleance 4 Noir Macbeth 5 Recuperating Lady Macbeth 6 Novelizing Macbeth 7 Global and racial Macbeth 8 Macbeth, the musical Epilogue: Macbeth 3.0 Notes Works Cited Index

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Book SynopsisMigrating Shakespeare offers the first study of the earliest waves of Shakespeare's migration into Europe. Charting the spread of the reception and production of his plays across the continent, it examines how Shakespeare contributed to national cultures and in some cases nation building. The chapters explore the routes and cultural networks through which Shakespeare entered European consciousness, from first translations to stage adaptations and critical response. The role of strolling players and actors, translators and printers, poets and dramatists, is chronicled alongside the larger political and cultural movements shaping nations. Each individual case discloses the national, literary and theatrical issues Shakespeare encountered, revealing not only how cultures have accommodated and adapted Shakespeare on their own terms but their interpretative contribution to the texts. Taken collectively the volume addresses key questions about Shakespeare's naturalization or reluctanTable of ContentsIntroduction: ‘Migrating Shakespeare’ by Janet Clare and Dominique Goy-Blanquet 1. “Michelangelo of tragedy”: Shakespeare’s tortuous Italian routes by Maria Luisa De Rinaldis (University of Salento, Italy) 2“No stranger here”: Shakespeare in Germany by Wolfgang G. Müller (University of Jena, Germany) 3. Shakespeare at cultural crossroads: Switzerland by Balz Engler (Basel University, Switzerland) 4. Opening the book: the disclosure of Shakespeare in the Netherlands by Detlef Wagenaar (Saxion University of Applied Sciences, Netherlands) 5. Jean-François Ducis, global passeur: Shakespeare’s migration in Continental Europe by Michèle Willems (University of Rouen, France) 6. No profit but the name’: the Polish reception of Shakespeare’s plays by Anna Cetera-Wlodarczyk (University of Warsaw, Poland) 7. ‘From migration to naturalisation: Shakespeare in Russia by Marina P. Kizima (Moscow State Institute of International Relations, Russia) 8. Trade routes, politics and culture: Shakespeare in Sweden by Per Sivefors (Linnaeus University, Sweden) 9. The mirror and the razor: Shakespeare’s arrival in Spain by Keith Gregor (University of Murcia, Spain) 10. Migrating with migrants: Shakespeare and the Armenian diaspora by Jasmine Seymour (Armenian Shakespeare Association) 11. Shakespeare in Greece: from Athens to Constantinople and beyond by Mara Yanni (National and Kapodistrian University of Athens, Greece) Notes References Index

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