Literary studies: c 1600 to c 1800 Books

Book SynopsisShakespeare in Tongues interrogates the popular conflation of âœthe language of Shakespeareâ with English by examining the role Shakespeareâs works have played in overlapping histories of colonialism, slavery, and migration that continue to shape the linguistic cultures of the United States.Opening up urgent and overdue conversations about linguistic oppression, racism, and resistance within the settler-colonial nation state, Kathryn Vomero Santos draws our attention to artists, activists, and educators who have conjured, embraced, remade, and rejected Shakespeare in service of multilingual counternarratives that push back against dominant perspectives, refuse assimilation, and strive for more polyglot and polyvocal futures. As they shine a bright light on the legacies of the federal Indian boarding school system, Indigenous language revitalization efforts, the militarization of the U.S.âMexico border, and battles over ethnic studies in classrooms, these critical and c

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Book SynopsisUnderstanding the soul's essence is an elusive pursuit, rendering any attempt to write about it akin to grasping at a mirage. As a sublime subject, the soul has captivated human thought for centuries. How do we approach it? How can we define its boundaries? This exploration offers an experimental investigation into the soulâs complexities during one of Spainâs most turbulent periodsâthe dawn of modernity. Set against the spiritual backdrop of the seventeenth century, these reflections examine how materiality ensnared individuals in artifice, often neglecting expansionism's social and political consequences. The Twelve Years' Truce (1609) and the Thirty Years' War (1618-1648) marked critical moments of instability, further compounded by economic depression and social turmoil. In this landscape of despair, the Spanish soul sought refuge inwardly and through indulgence in worldly pleasures. Through metaphysical inquiry, emotional depth, and the role of animated matter in art and theater, this book reflects on existence amid the illusions of early modern Spain.

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Book SynopsisSusanna Hopton was born in 1627 to a wealthy mercantile family. By 1651 she was collaborating with her future husband Richard Hopton in his activities as a royalist agent and around the same time she was converted to Roman Catholicism by Henry Turberville, a secular priest and distinguished controversialist. After her marriage to Richard Hopton she was persuaded to rejoin the Church of England after ''long, and serious search and deliberation''. Her engagement with Roman Catholicism remained the defining event in her spiritual development and had a powerful influence on her writing, much of which consists of the adaptation of Roman Catholic devotional sources for Anglican use. Her first printed work, Daily Devotions, set the pattern for all her subsequent publications which were published anonymously through the mediation of male, clerical friends. In spite of her anonymity during the lifetime, Susanna Hopton had a flourishing posthumous reputation. Her works were frequently reprinted,

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Book SynopsisMichael Hattaway''s Introduction to this bestselling edition of As You Like It accounts for what makes this popular play both innocent and dangerous. This third edition includes a new section on recent critical interpretations, including sections on ecocriticism, peace studies, and myths of gender, on recent as well as past stage productions and films of the play, as well as fresh illustrations. An appendix on an early court performance in 1599, commentary on the play''s language, the book trade, and the discursive cultures of its time, as well as an updated reading list are also included.Table of ContentsIntroduction; Note on the text; List of characters; The play; Textual analysis; Appendixes; 1. An early court performance?; 2. Extracts from Shakespeare's principal source, Lodge's Rosalind; 3. The songs; Reading list.

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Book SynopsisEmploying psychoanalysis, trauma theory, and materialist perspectives, this book examines Shakespeare's appropriations of Ovid's poetry in his Roman poems and plays. It argues that Shakespeare uses Ovid to explore violence, trauma, and virtus - the traumatic effects of aggression, sadomasochism, and the shifting notions of selfhood and masculinity.Trade Review“Starks-Estes book is very accessible for both undergraduate and graduate-level teaching; her writing style is lively and engaging and her argument on Shakespeare’s use of Ovid as a means for representing trauma is nuanced, yet straightforward. … Violence, Trauma, and Virtus in Shakespeare’s Roman Poems and Plays: Transforming Ovid offers the first study of Shakespeare that focuses exclusively on trauma theory and therefore provides an important contribution to early modern scholarship.” (Nicola M. Imbrascio, This Rough Magic, thisroughmagic.org, December, 2015)Table of ContentsAcknowledgments Introduction PART I: LOVE'S WOUND: VIOLENCE, TRAUMA, AND OVIDIAN TRANSFORMATION IN SHAKESPEARE'S ROMAN POEMS AND PLAYS 1. The Origin of Love: Ovidian Lovesickness and Trauma in Shakespeare's Venus and Adonis 2. Shakespeare's Perverse Astraea, Martyr'd Philomel, and Lamenting Hecuba: Ovid, Sadomasochism, and Trauma in Shakespeare's Titus Andronicus 3. Dido and Aeneas 'Metamorphis'd': Ovid, Marlowe, and the Masochistic Scenario in Shakespeare's Antony and Cleopatra PART II: TRANSFORMING BODIES: TRAUMA, VIRTUS, AND THE LIMITS OF NEO-STOICISM IN SHAKESPEARE'S ROMAN POEMS AND PLAYS 4. 'A wretched image bound': Neo-Stoicism, Trauma, and the Dangers of the Bounded Self in Shakespeare's The Rape of Lucrece 5. Bleeding Martyrs: The Body of the Tyrant/Saint, the Limits of 'Constancy,' and the Extremity of the Passions in Shakespeare's Julius Caesar 6. 'One whole wound': Virtus, Vulnerability, and the Emblazoned Male Body in Shakespeare's Coriolanus Coda: Philomela's Song: Transformations of Ovid, Trauma, and Masochism in Shakespeare's A Midsummer Night's Dream and Cymbeline Bibliography Index?

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Book SynopsisThe basic history of the Shakespearean editorial tradition is familiar and well-established. For nearly three centuries, men most of them white and financially privileged ensconced themselves in private and hard-to-access libraries, hammering out ''their'' versions of Shakespeare''s text. They produced enormous, learnèd tomes: monuments to their author''s greatness and their own reputations. What if this is not the whole story? A bold, revisionist and alternative version of Shakespearean editorial history, this book recovers the lives and labours of almost seventy women editors. It challenges the received wisdom that, when it came to Shakespeare, the editorial profession was entirely male-dominated until the late twentieth century. In doing so, it demonstrates that taking these women''s work seriously can transform our understanding of the history of editing, of the nature of editing as an enterprise, and of how we read Shakespeare in history.Trade Review'Fascinating insights into a hitherto unacknowledged contribution to our understanding of Shakespeare.' Greg Doran, Artistic Director of the RSC'I have read Molly Yarn's book with much pleasure and profit. It is full of interesting insights and sidelights and revealing sociological commentary. It is diligently and scrupulously researched, with a compelling narrative that brings together biography and bibliography (I love the phrase 'bio-bibliography') and foregrounds many hard working women editors, some of them leading multiple lives, who have been hitherto overlooked in the history of Shakespeare editing and criticism. She is not afraid, in her own word, to disclose the 'intimate' discoveries she has made, about herself and her subjects while working on this timely topic. It's an important and very readable contribution to Shakespeare studies.' Margaret Drabble'This is much more than a biography of forgotten and undervalued female editors of Shakespeare in the 19th and 20th centuries. It is a biography of what we value (or decide not to value ) in textual studies; it is a gripping account of female education in the United States and the United Kingdom; it is a chronicle of social circles and patronage; and it is a collection of deftly-told stories. Together these ingredients make for a compelling and illuminating read.' Laurie Maguire, University of Oxford'Few scholarly studies combine original research that opens a whole new field of enquiry and fascinates the non-specialist reader with a topic that is both relatable and deeply moving. Shakespeare's 'Lady Editors' is one of them. Molly Yarn embarked on her search for women editors of Shakespeare, assuming she would find a handful beyond the few 'household' names known to Shakespeare specialists. In fact, her careful archival work has revealed the names, biographies, and editorial achievements of sixty-nine women who edited Shakespeare in the UK and the US before 1950. Readers of Shakespeare's 'Lady Editors' will find in this book the first sustained critical assessment of a small army of women, whose editorial labour was quite literally lost, due to the disqualifying effect of their gender. Yarn does not only recover their labour but shows how influential it is in complementing and redefining our understanding of the official editorial tradition of Shakespeare.' Sonia Massai, King's College London'Shakespeare's 'Lady Editors' is a quite wonderful book. With extraordinary skill Molly Yarn has retrieved the history of the work of generations of women editors of Shakespeare, the story of whose labours has largely been lost to scholarly history. Yarn's scholarship is deeply impressive, but it is worn lightly and her book is energetically written, immensely readable and deeply engaging. The volume is an indispensable resource for anyone interested in the history of Shakespeare editing and the over-looked role of generations of women scholars in helping to construct and reframe the Shakespeare text. A thoroughly excellent volume.' Andrew Murphy, Trinity College Dublin'Molly G. Yarn's meticulously researched monograph considers the numerous women who edited Shakespeare in the nineteenth and early twentieth centuries, and thus shaped the history of Shakespearian transmission.' Georgina Wilson, Times Literary SupplementTable of ContentsPrologue: The Mystery of Mrs Valentine; 1. 'We Have Lost Our Labour': Recovering Women Editors of Shakespeare; 2. 'It is My Lady's Hand': Female Collaborators and Ambiguous Literary Labour; 2a. Sidenote: On Women Editing Not-Shakespeare (or Not Editing); 3. 'Give Ear, Sir, to My Sister': Women Editors and Scholarly Networks in America; 3a. Sidenote: A Primer on Early Student Editions of Shakespeare; 4. 'This Story the World May Read in Me': Biography and Bibliography; 5.'We Happy Few': Women and the New Bibliography; Epilogue.

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Book SynopsisNothing in Shakespeare''s England was as important as religion. Questions of faith informed everything from history and politics to love and family, work and play, good and evil, suffering and sacrifice, and ultimately life and death. Every one of Shakespeare''s plays is rich in allusions to the Bible, church rites including baptism, communion, marriage, and burial, and a host of religious beliefs. This Companion provides an essential grounding in early modern religious history and culture and the ideas that Shakespeare returns to throughout his career. Chapters dedicated to close-readings of individual plays or groups of plays span both the complex and variegated Christian beliefs explored in Shakespeare''s work, as well as the treatment of Judaism, Islam and classical paganism. Authored by an international team of eminent scholars and featuring an Afterword by Rowan Williams, this Companion is the most comprehensive and incisive guide to the topic that students will find.Trade Review'This comprehensive, rich book is well worth study … Highly Recommended' N. Birns, ChoiceTable of Contents1. Shakespeare and the Elizabethan and Jacobean Church Thomas Betteridge; 2. Shakespeare: biography and belief Andrew Hadfield; 3. The Renaissance Bible Hannibal Hamlin; 4. The drama of the liturgy Daniel Swift; 5. Popular religion Phebe Jensen; 6. Grace and conversion Helen Smith; 7. Love Claire McEachern; 8. Sin and evil Adrian Streete; 9. Compassion, affliction, and patience: biblical and religious allusion in Shakespeare Gary Kuchar; 10. Providence and divine right in the English histories Jean-Christophe Mayer; 11. The Merchant of Venice, Jews, and Christians M. Lindsay Kaplan; 12. Religious and political impasses in Measure for Measure Jennifer R. Rust; 13. Remembering the dead in Hamlet Brian Cummings; 14. Othello and Islam: Shakespeare's noble moor, staging blackness, and the performance of religious difference Daniel Vitkus; 15. Poetic creation in an apocalyptic age: King Lear and the making and the unmaking of the world Kristen Poole; 16. Immortal longings in Shakespeare's Rome Robert S. Miola; 17. Sacred and theatrical miracles in the romances Tom Bishop; Afterword: finding the remedy Rowan Williams.

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Book SynopsisShakespeare's plays have long been open to reimagining and reinterpretation, from John Fletcher's riposte to The Taming of the Shrew in 1611 to present day spin-offs in a whole range of media, including YouTube videos and Manga comics. This book offers a clear route map through the world of adaptation, selecting examples from film, drama, prose fiction, ballet, the visual arts and poetry, and exploring their respective political and cultural interactions with Shakespeare''s plays. 36 specific case studies are discussed, three for each of the 12 plays covered, offering additional guidance for readers new to this important area of Shakespeare studies.The introduction signals key adaptation issues that are subsequently explored through the chapters on individual plays, including Shakespeare's own adaptive art and its Renaissance context, production and performance as adaptation, and generic expectation and transmedial practice. Organized chronologically, the chapters cover the mostTrade ReviewEntertaining and illuminating … This volume is of great value and provides an excellent introduction to Shakespeare in an adaptation that seems especially suited to those studying at the undergraduate level, offering not just an entry point into the plays discussed but many suggestions for further reading and research. * Cahiers Élisabéthains *[Combines] a broad thematic scope with a thorough and up-to-date scholarly background, presented in a reader-friendly style that makes the book accessible not only for the initiate, but also for students and even the educated general reader … [Provides] the reader with refreshing insights into each play’s afterlife, often highlighting unexpected thematic connections between works not commonly discussed together. * Journal of Adaptation in Film & Performance *Offering readers a window into the afterlives of Shakespeare’s plays across a stunning range of time, culture, and media, Studying Shakespeare Adaptation: From Restoration to YouTube is an indispensable guide to the cultural and critical contexts that define our understanding of the Bard past, present, and future. * Courtney Lehmann, University of the Pacific, USA *Table of ContentsIntroduction Chapter 1 Titus Andronicus Chapter 2 Richard III Chapter 3 A Midsummer Night’s Dream Chapter 4 Romeo and Juliet Chapter 5 The Merchant of Venice Chapter 6 Hamlet Chapter 7 Othello Chapter 8 King Lear Chapter 9 Macbeth Chapter 10 Cymbeline Chapter 11 The Winter’s Tale Chapter 12 The Tempest Conclusion References Index

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Book SynopsisShakespeare and Digital Pedagogy is an international collection of fresh digital approaches for teaching Shakespeare. It describes 15 methodologies, resources and tools recently developed, updated and used by a diverse range of contributors in Great Britain, Australia, Asia and the United States. Contributors explore how these digital resources meet classroom needs and help facilitate conversations about academic literacy, race and identity, local and global cultures, performance and interdisciplinary thought. Chapters describe each case study in depth, recounting needs, collaborations and challenges during design, as well as sharing effective classroom uses and offering accessible, usable content for both teachers and learners.The book will appeal to a broad range of readers. College and high school instructors will find a rich trove of usable teaching content and suggestions for mounting digital units in the classroom, while digital humanities and education specialists will fiTrade ReviewTo read this volume is to encounter the richly generative creativity and expansive pedagogical imagination of scholar-teachers who have gathered at the nexus of Shakespeare and Digital Pedagogy. Carefully curated by Henderson and Vitale, the essays collected here provide inspiring case studies and generalizable strategies of wide interest to literary scholars and practitioners in educational development. The volume illuminates the many affordances of digital technologies in the classroom (physical and virtual) while asserting the winning claim that Shakespearean pedagogies are at their best when active, co-creative, and fully inclusive—indeed, one of the advantages of digital technology is the potential to diminish hierarchies of power and inspire co-creative action as a path to meaningful and persistent interpretation. The volume will be warmly welcomed and widely embraced. -- Elliott Visconsi, University of Notre Dame, USATable of ContentsList of figures Notes on contributors Foreword Michael Witmore (Folger Shakespeare Library, USA) Introduction Diana E. Henderson (MIT, USA) and Kyle Sebastian Vitale (Temple University USA) Part One Teaching Academic and Digital Literacy 1. Shakespeare Students as Scribes: Documenting the Classroom through Collaborative Digital Note-taking Cyrus Mulready (SUNY New Paltz, USA) 2. The Shakespeare CoLab: a Digital Learning Environment for Shakespeare Studies Rachael Deagman Simonetta, with Melanie Lo (both University of Colorado, Boulder, USA) 3. ‘Reading Strange Matters’: Digital Approaches to Early Modern Transnational Print History Kathryn Vomero Santos (Trinity University, USA) Part Two Teaching Diversity, Equity, and Inclusion 4. (Early) Modern Literature: Crossing the ‘Sonic Color Line’ David Sterling Brown (Binghamton University USA) 5. Diversifying Shakespeare: Intersections of Technology and Identity Meg Lota Brown and Kyle DiRoberto (both University of Arizona, USA) 6. The British Black and Asian Shakespeare Performance Database: Reclaiming Theatre History Jami Rogers (University of Warwick, UK) 7. Reading Interculturality in Class: Contextualising Global Shakespeares in and through A|S|I|A Eleine Ng-Gagneux (National University of Singapore, Singapore) Part Three. Teaching with Traditional and Modern Archives 8. Shakespeare at Basecamp Kristen Poole with Jake Cohen (University of Delaware, USA) 9. The Victorian Illustrated Shakespeare Archive: Art to Enchant Michael John Goodman (Cardiff University, UK) 10. Student-Curated Archives and the Digital Design of Shakespeare in Performance Marcia McDonald, Joel Overall, and Jayme M. Yeo (all Belmont University, USA) Part Four Teaching in Hybrid and Online Learning Environments 11. Performance and Pedagogy: The Global Shakespeares Online Merchant of Venice Course Sarah Connell (Northeastern University, USA) 12. Translating Shakespeare from Scene to Screen, and Back Again: Digital Tools for Teaching Richard III Loreen Giese (Ohio University, USA) 13. Dividing the Kingdoms: Interdisciplinary Methods for Teaching Shakespeare to Undergraduates Jaime Goodrich (Wayne State University, USA), with Sarah Noble (Berkley, Michigan, USA) Part Five Teaching in Web 3.0 14. Mapping the Global Absent in Shakespeare: Lessons Learned from a Student-Faculty Collaboration John S. Garrison with Ahon Gooptu (both Grinnell College, USA) 15. Shakespeare Reloaded’s Shakeserendipity Game: Pedagogy at the Edge of Chaos Liam E. Semler (University of Sydney, Australia) A Closing Note Diana E. Henderson and Kyle Sebastian Vitale

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Book SynopsisShakespeare is at the heart of the British theatrical tradition, but the contribution of Ira Aldridge and the Shakespearean performers of African, African-Caribbean, south Asian and east Asian heritage who came after him is not widely known. Telling the story for the first time of how Shakespearean theatre in Britain was integrated from the 1960s to the 21st century, this is a timely and important account of that contribution. Drawing extensively on empirical evidence from the British Black and Asian Shakespeare Performance Database and featuring interviews with nearly forty performers and directors, the book chronicles important productions that led to ground-breaking castings of Black and Asian actors in substantial Shakespearean roles including: Zakes Mokae (Cry Freedom) as one of three black witches in William Gaskill's 1966 production of Macbeth at the Royal Court Theatre. Norman Beaton as Angelo in Michael Rudman's 1981 production of Measure for Trade ReviewA much needed history … Rogers’s meticulous study is a clarion call for British Shakespearian performance – and the scholarship surrounding it – to do better. * Shakespeare Survey *A vital read for anyone interested in the gains made by, not just some of Britain’s greatest actors of colour, but by some of Britain’s greatest actors. * David Oyelowo OBE *This is a book that I have eagerly awaited, both as a playgoer and as a cultural historian. Jami Rogers’s engrossing account of Black and Asian Shakespeareans from Ira Aldridge to Josette Simon is a fascinating and timely contribution to Shakespeare studies, providing a much needed survey of the resistance that British actors of colour have long faced, as well as the inroads they have made in making Shakespeare truly representative. * James Shapiro, author of 1599: A Year in the Life of William Shakespeare *Celebrating the contributions of actors of African-Caribbean and Asian heritage in the Shakespeare industry, this invaluable book contributes to decolonising the theatre and recuperating the experiences of practitioners of colour. - Adele Lee, Associate Professor, Department of Writing, Literature and Publishing, Emerson CollegeTable of ContentsNote on interviews Abbreviations List of illustrations List of tables Acknowledgements Introduction: Forgotten Shakespeareans, 1825–1965 Shakespearean pioneers, 1866–1947 Shakespearean pioneers, 1950–1965 Chapter One: “Difficult to justify this casting without sounding racist”: breakthroughs and stereotypes, 1966–1972 Royal Court – Macbeth – 1966 Mermaid Theatre – The Tempest – 1970 The Black Macbeth – Roundhouse Theatre, London – 1972 “Difficult to justify this casting without sounding racist” Chapter Two: “Why weren’t we auditioned?”: the “black canon” and the battle for Othello “Why weren’t we auditioned?” Reclaiming Othello Chapter Three: From “suitable roles” to leads, 1980–1987 “Black roles” at the RSC Macbeth – Young Vic, 1984 Leading roles, 1984 Rosaline – RSC, 1984 “Othello was an Arab” – RSC, 1985 Emergence of a new “black canon” RSC 1986 “They’re nurturing you” Antony – Contact Theatre, 1987 Isabella – RSC, 1987 Julius Caesar – Bristol Old Vic, 1987 Chapter Four: Owning Shakespeare – Temba, Talawa and Tara Arts, 1988–1994 Romeo and Juliet – Temba, 1988 Antony and Cleopatra – Talawa, 1991 Troilus and Cressida – Tara Arts, 1993 King Lear – Talawa, 1994 Chapter Five: Cracking the glass ceiling, 1988–1996 “You can’t have a West Indian actor playing a Welsh poet …” Troilus … But West Indian opera singers can speak the verse? Young lovers Rosalind. Portia. The Shakespearean glass ceiling, 1988–1996. “Are we saying we’re white people?”. “That wouldn’t have happened here”. Birmingham Repertory Theatre, 1993–1996. Chapter Six: “Monarchs to Behold”: 1997–2003. “I belong here”. Othello, National Theatre, 1997. Women of colour: pushing against the glass ceiling, 1998-1999. RSC, 1999. Troilus and Cressida, National Theatre, 1999 Identity and colour-blind casting Adrian Lester, Hamlet, 2000 David Oyelowo, Henry VI, 2000 Mu-Lan Romeo and Juliet, 2001 Adrian Lester, Henry V, 2003 The peak of progress? Chapter Seven: Progress Postponed, 2004–2011. “There’s a few more parts we could play, you know”. Tragic heroes and the Shakespearean glass ceiling, 2004–2011. Cross-cultural casting. “I think I need you to do an accent”. Maids and prostitutes, stereotyping Lucetta and Bianca. A new dawn. Chapter Eight: Shakespeare from Multiculturalism to Brexit, 2012-2018. Julius Caesar and Much Ado About Nothing, RSC, 2012. Othello. Joseph Marcell – King Lear, Shakespeare’s Globe, 2013. Shakespeare’s histories, 2013–2015. Paapa Essiedu – Hamlet, RSC, 2016. “It was a lack of faith”. Black Theatre Live’s Hamlet and Talawa’s King Lear, 2016. Alfred Enoch – Edgar, King Lear, Talawa, 2016. Women of colour in Shakespeare, 2016–2018. Josette Simon – Cleopatra, RSC, 2017 “They never asked me” Sheila Atim – Emilia, Othello, Shakespeare’s Globe, 2018 Troilus and Cressida – RSC, 2018. Coda – 2019…and beyond? References Index

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Book SynopsisThe Jesuits were a major source of European information on Japan from the late 16th to early 17th century. Not only were they active missionaries but they also produced linguistic, religious and cultural tracts, regional chronicles, as well as hundreds of Latin plays written in imitation of classical Greco-Roman theatre but set in Japan. An intriguing yet underexplored segment of Jesuit school theatre is that which stages non-classical, non-Western subjects such as Japan, and this volume is the first to present Latin texts of two of these plays alongside full English translations, commentaries and an extensive introduction. The plays in question - Martyrs of Japan and Victor the Japanese - were performed in Koblenz and Munich, in 1625 and 1665 respectively, and are collated from original 17th-century manuscripts for this edition. They were based on specific events which took place in Japan in 1597 and 1613, and their main characters are historically attested Japanese CatTrade ReviewIn this groundbreaking study of Jesuit theatre in seventeenth-century Germany, the author provides a critical study of two Latin plays performed at the Jesuit colleges in Koblenz (Japanese Martyrs, 1625) and Munich (Victor the Japanese, 1665) respectively. Both dramas reflect the influence of the Jesuit mission in Japan on the European imagination -- M. Antoni J. Ucerler S.J., Director of the Ricci Institute for Chinese-Western Cultural History, Boston College, USATable of ContentsList of Illustrations Acknowledgements Introduction 1: Japan on the Neo-Latin Jesuit Stage 2: Japanese Martyrs (Koblenz 1625) 3: Victor the Japanese (Munich 1665) Latin Text and Translation Commentary Bibliography Index

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Book SynopsisFrom its origin as the Roman city of Londinium through to its latest incarnation as a super-diverse World City in the twenty-first century, London's history and culture has been shaped by migration. This book expresses and celebrates the plurality of the capital's cultures and affirms the importance of migration in the making of the modern city through thirty-three short essays written by academics, artists, broadcasters and curators. Subjects range from the mediaeval to the contemporary: buildings and institutions, individuals and communities, objects, visual art, street performances and literary texts. Some contributors focus on famous people and places, like Shakespeare and St Paul's, while others explore less well-known subjects, like the Free German League of Culture (1939-46) or Ignatius Sancho, the eighteenth-century musician, grocer and man-of-letters.It is not only London's cultures which are diverse, migration is also plural. This book engages with the very many huTrade ReviewThis pathbreaking and extensive volume brings together a wide range of authors from academia and beyond to investigate the role and lives of migrants throughout the history and geographical extent of London. * Panikos Panayi, Professor of European History, De Montfort University, UK *Table of ContentsFrontmatter Author Biographies Introduction, Charlotte Grant and Alistair Robinson CENTRAL 1. St. Erkenwald and the Hidden Histories of St Paul’s Cathedral, Alastair Bennett 2. Ignatius Sancho: Musician, Man of Letters, Grocer, Markman Ellis 3. The ‘Black-birds’ of St. Giles: Community and Place in Eighteenth-century London, Nicole N. Aljoe and Savita Maharaj 4. Styling the Other: Hazlitt’s ‘The Indian Jugglers’, Uttara Natarajan 5. Begging Places: Poverty, Race, and Visibility on Ludgate Hill, c. 1815, David Hitchcock 6. 13 Red-Lion Square: The Mendicity Society, 1818–76, Oskar Cox Jensen 7. The Chinese Aesthetics of the Admonitions Scroll at the British Museum, Kent Su 8. ‘A terrain on its own’: Elizabeth Bowen and Regent’s Park, Heather Ingman INFRASTRUCTURE: WATER 9. London’s Water: City Comedy, Migration and Middletons, Susan J. Wiseman EAST 10. Shakespeare in Shoreditch, Daniel Swift 11. Hostile Environments: Disinterring a Lascar Barracks in Nineteenth-Century Shadwell, Eliza Cubitt 12. 19 Princelet Street, Spitalfields: A Case Study in the Architecture of Migration and Diversity, Dan Cruikshank 13. The Slot-Meter and the East End Avant-Garde, Alex Grafen INFRASTRUCTURE: WASTE 14. Blockage and Recuperation: Sewer-Hunters in Henry Mayhew’s London Labour and the London Poor, Naomi Hinds SOUTH 15. Culture and Horticulture in Lambeth from ‘Tradescant’s Ark’ to Vauxhall Gardens, Charlotte Grant 16. The Crystal Palace in Hyde Park, Sydenham, and St Petersburg, Catherine Brown 17. 87 Hackford Road: The London of Vincent Van Gogh, Livia Wang 18. Writing London: Hanif Kureishi’s The Buddha of Suburbia, Ruvani Ranasinha INFRASTRUCTURE: TRANSPORT I 19. Existing Triply: Race, Space and the London Transport Network, 1950s–70s, Rob Waters WEST 20. Scotch Hornpipes and African Elephants: The May Fair in 1700, Alistair Robinson 21. Feathered People in Enlightenment London: Queen of the Bluestockings meets Cherokee King, Elizabeth Eger 22. Prince Eugen in Kensington: Anglo-Scandinavian Artistic, Networks and the Stockholm Exhibition of 1897, Eva-Charlotta Mebius 23. ‘What a relief to be back in London’: The Silences of Lucie Rie and Hans Coper, Edmund de Waal 24. Tricksters of the Water: Sam Selvon's West London and the Migrant Experience, Peter Maber and Karishma Patel 25. Arabian Nights on the Edgware Road: Hanan al-Shaykh’s Only in London, Susie Thomas 26. The Grand Prince of Kyiv in Holland Park: The Statue of Saint Volodymyr, Sasha Dovzhyk 27. ‘Is real mas outside’: Community, Resistance and Notting Hill Carnival, Leighan Renaud 28. ‘Where the City Dissolves’: Suburban Diasporas, Psychosis and Reparative Writing, Martin Dines INFRASTRUCTURE: TRANSPORT II 29. A Bus for Everyone: The Role of the London Omnibus in Enabling Access to the City, Joe Kerr NORTH 30. John Keats and London: Nature, the City and the Suburbs, Flora Lisica 31. The Battle for an African Space in London: WASU Hostel and Aggrey House, William Whitworth 32. Northview: A Snapshot of Multiracial London during the Second World War, Oliver Ayers 33. Exiles of NW3: The ‘Free German League of Culture’ in Upper Park Road, David Anderson Select Bibliography Index

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Book SynopsisKing Lear has ruled for many years. As age overtakes him, he divides his kingdom amongst his children. Misjudging their loyalty, he soon finds himself stripped of all the trappings of state, wealth and power that had defined him. Arden Performance Editions are ideal for anyone engaging with a Shakespeare play in performance. With clear facing-page notes giving definitions of words, easily accessible information about key textual variants, lineation, metrical ambiguities and pronunciation, each edition has been developed to open the play's possibilities and meanings to actors and students. Designed to be used and to be useful, each edition has plenty of space for personal annotations and the well-spaced text is easy to read and to navigate. Each edition offers: - Short, clear definitions of words - Information about key textual variants - Notes on pronunciation of difficult names and unfamiliar words - An easy to read layout with space to write yoTable of ContentsPreface Series Introduction A Note on Metre Introduction Suggested Further Reading Dramatis Personae KING LEAR

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Book SynopsisShakespeare Sense explores the intersection of Shakespeare and sensory studies, asking what sensation can tell us about early modern drama and poetry, and, conversely, how Shakespeare explores the senses in his literary craft, his fictional worlds, and his stagecraft. 15 substantial new essays by leading Shakespeareans working in sensory studies and related disciplines interrogate every aspect of Shakespeare and sense, from the place of hearing, smell, sight, touch, and taste in early modern life, literature, and performance culture, through to the significance of sensation in 21st century engagements with Shakespeare on stage, screen and page. The volume explores and develops current methods for studying Shakespeare and sensation, reflecting upon the opportunities and challenges created by this emergent and influential area of scholarly enquiry. Many chapters develop fresh readings of particular plays and poems, from Hamlet, A Midsummer Night''s Dream, King Trade Review[A] stimulating collection of essays … this volume not only consolidates the centrality of sensory scholarship, but also succeeds in offering new inroads, methodologies and concepts … Readers will find themselves returning to its stimulating and careful treatment of sensory studies. * English Studies *Table of ContentsIntroduction Part I – Theorising Sensation 1. Framing Shakespeare's Senses; Bruce R. Smith (University of Southern California, USA) 2. Admiring the Nothing of It: Shakespeare and the Senseless; Steven Connor (Peterhouse, Cambridge, UK) 3. The Classical Tradition; Tanya Pollard (Brooklyn College and the Graduate Center, City University of New York, USA) Part II – The Early Modern Sensorium 4. ‘Sweet Above Compare’? Disputing about Taste in Venus and Adonis, Love’s Labour’s Lost, Othello, and Troilus and Cressida; Elizabeth L. Swann (Durham University, UK) 5. Hamlet's Visual Stagecraft and Early Modern Cultures of Sight; Simon Smith (Shakespeare Institute, University of Birmingham, UK) 6. The Smell of a King: Olfaction in King Lear; Holly Dugan (The George Washington University, USA) 7. ‘Amorous Pinches’: Keeping (In)tact in Antony and Cleopatra; Jennifer Edwards (Shakespeare's Globe, UK) 8. Hearing at the Surface in The Comedy of Errors; Katherine Hunt (The Queen's College, University of Oxford, UK) Part III – Entangled Senses 9. Sense, Reason, and the Animal-Human Boundary in A Midsummer Night's Dream; Natalie K. Eschenbaum (University of Wisconsin – La Crosse, USA) 10. Sense and Community: Twelfth Night and early modern playgoing; Jackie Watson (Oxford, UK) 11. Simular Proof and Senseless Feeling: Synaesthetic Overload in Cymbeline; Darryl Chalk (University of Southern Queensland, Australia) 12. Pinching Caliban: Race, Husbandry, and the Working Body in The Tempest; Patricia Akhimie (Rutgers University – Newark, USA) Part IV – Sensing Shakespeare 13. Shakespeare and the Seven Senses: Scenes from the Twenty-First-Century Stage; Erin Sullivan (Shakespeare Institute, University of Birmingham, UK) 14. Parted Eyes and Generation Gaps in Twenty-First-Century Perceptions of Screen Shakespeare; Diana E. Henderson (Massachusetts Institute of Technology, USA) 15. The Senses and Material Texts; Adam Smyth (Balliol College, University of Oxford, UK) Further Reading Index

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Book SynopsisMaria Frawley is a Professor of English at the George Washington University, USA.

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Book SynopsisThe life of William Davenant -Shakespeare's godson and potential biological son -reads as entertainingly as his plays.

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Book SynopsisRedefines Mary Wollstonecraft as a multi-lingual cosmopolitan.

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Book SynopsisThe Faerie Queene is a scholarly masterpiece that has influenced, inspired, and challenged generations of writers, readers and scholars since its completion in 1596. Hamilton''s edition is itself, a masterpiece of scholarship and close reading. It is now the standard edition for all readers of Spenser. The entire work is revised, and the text of The Faerie Queene itself has been freshly edited, the first such edition since the 1930s.This volume also contains additional original material, including a letter to Raleigh, commendatory verses and dedicatory sonnets, chronology of Spenser''s life and works and provides a compilation of list of characters and their appearances in The Faerie Queene.Trade Review“All in all, it is a major work of scholarship, combining a meticulously prepared text with splendid annotation. It will last, and will help inspire new generations of readers.” Tom MacFaul, Notes and Queries “Hamilton's edition of the Faerie Queene is indispensable to any serious scholar of Spenser.”Amazon.co.uk reviewTable of ContentsBook I: The Legend of the Knight of the Red Crosse, or of Holinesse Book II: The Legend of Sir Guyon, or of Temperaunce Book III: The Legend of Britomartis, or of Chastity Book IV: The Legend of Cambel and Telemond, or of Friendship Book V: The Legend of Artegall, or of Iustice Book VI: The Legend of Calidore, or of Courtesie Book VII: Two Cantos of Mutabilitie A Letter to Raleigh Commendatory Verses and Dedicatory Sonnets Textual Notes by Hiroshi Yamashita and Toshiyuki Suzuki Bibliography The Characters of the Faerie Queene, compiled by Shohachi Fukuda

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Book SynopsisWith over 3,000 quotes organized by topic and by play the Dictionary is very easy to use. It also includes a glossary of unfamiliar terms and a brief biography of Shakespeare. The key word index makes it easy to dip into by word, theme or play allowing you to track down a half-remembered quote easily.

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Book SynopsisThis unique book desribes the ways in which educational practitioners at Shakespeare''s Globe theatre bring Shakespeare to life for students of all ages.The Globe approach is always active and inclusive - each student finds their own way into Shakespeare - focussing on speaking, moving and performing rather than reading. Drawing on her rich and varied experience as a teacher, Fiona Banks offers a range of examples and practical ideas teachers can take and adapt for their own lessons. The result is a stimulating and inspiring book for teachers of drama and English keen to enliven and enrich their students'' experience of Shakespeare.Trade ReviewI’m pretty impressed with a new book from Bloomsbury about the Globe’s Education work. In Creative Shakespeare, Fiona Banks describes the ways in which educational practitioners at the Globe bring Shakespeare to life for students of all ages . . . It’s practical and informative . . . give it to all your director/practitioner/teacher friends for Christmas. -- Susan Elkin * The Stage *Creative Shakespeare is not only a book of fantastic teaching ideas: it’s also a great read for anyone who is interested in Shakespeare as theatre and Shakespeare in education . . . Just as the Globe theatre has the potential to bring Shakespeare’s plays to life for its audiences in this very particular way, so these workshop techniques have the potential to lift the text in the classroom from the page in a very powerful way . . . It’s difficult in this short space to convey a sense of the richness of this book and of the depth of experience which has produced it. It’s more than a resource book: it’s a book that every teacher of Shakespeare should read. -- Gary Snapper * Teaching English *An excellent and thorough resource which provides teachers and directors with a battery of exercises to help students and actors discover Shakespeare's work through what must surely be highly enjoyable active learning and exploration. * Drama Resource *A rich mixture of discussion, activities, teaching tips, extracts of text, and commentaries from the Globe Education practitioners. * Drama Magazine *In pedagogy, Fiona Banks’s Creative Shakespeare: The Globe Education Guide to Practical Shakespeare is a rich resource of educational tactics for students of all ages, although elementary and secondary teachers will find it most useful. -- Roland Greene, Stanford University * Recent Studies in Tudor and Stuart Drama *Fiona Banks, a leading member of Globe Education for many years, approaches the teaching of Shakespeare seriously. There is no patronizing, no spoonfeeding, but respect for students and their intellect … Banks expresses the purpose of the book quite clearly, and anyone who has ever been engaged in this sort of work will emphatically agree. -- Arthur Kincaid * The Shakespeare Newsletter *Table of ContentsIntroduction Key Principles and Ideas Context Core Approaches Language: Inside Out Actor, Stage and Audience Performance Learning Through Shakespeare Conclusion References

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Book SynopsisMacbeth is one of the most popular and bloody of Shakespeare''s tragedies. This accessible introduction offers a springboard into the play, taking a hands-on, performance-based approach, exploring the challenges and the rewards it presents to actors, audiences and students. Springboard Shakespeare: Macbeth has a three-part structure: whether you''re watching or reading, Ben Crystal takes you through exactly what you need to know Before, During and After the play. He combines a genuine passion and understanding of Shakespeare with his experience as an actor, giving the reader a clear route to thinking about, understanding and enjoying Macbeth.Trade ReviewHaving Crystal as a companion through the stickier parts of Hamlet and Macbeth is like going to the theatre with an intelligent friend. * The Independent *How different it might have been if we’d had Ben Crystal’s sparky little books to introduce us. My Shakespearean epiphany would have come much sooner...[the books] lead newcomers into the play in question in a gentle, upbeat, unpretentious way. Fresh and slim, they’re about as far as could be from dusty, dry study guides relating to school exams...much better than the average theatre programme...I’d like to see them on sale in theatre bookshops, and/or wherever there’s a production of one of these plays...I’d also recommend them for classroom use. -- Susan Elkin * The Independent on Sunday *A highly worthwhile series, which should prove to be valuable for directors, actors and students…This formula really works. As an experiment, your dedicated reviewer tried out Macbeth in preparation for and following on from the Eve Best production of the Globe. The experience was definitely improved, with some of the tips on words and language proving especially helpful and enlightening… These really are excellent little guides that will prove informative to almost anybody with an interest in the subject. -- Philip Fisher * British Theatre Guide *

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Book SynopsisWhat does it mean to teach Shakespeare with purpose? It means freeing teachers from the notion that teaching Shakespeare means teaching everything, or teaching Western Civilisation and universal themes. Instead, this invigorating new book equips teachers to enable student-centred discovery of these complex texts. Because Shakespeare's plays are excellent vehicles for many topics history, socio-cultural norms and mores, vocabulary, rhetoric, literary tropes and terminology, performance history, performance strategies it is tempting to teach his plays as though they are good for teaching everything. This lens-free approach, however, often centres the classroom on the teacher as the expert and renders Shakespeare's plays as fixed, determined, and dead. Teaching Shakespeare with Purpose shows teachers how to approach Shakespeare's works as vehicles for collaborative exploration, to develop intentional frames for discovery, and to release the texts from over-determined interpretatioTrade ReviewThompson and Turchi describe techniques for moving us away from teacher-centered historical expertise toward a collaborative and participatory model of learning that puts Shakespearean language and performance at the center of the classroom experience … It’s innovative, practical, and generous; I hope it will be read widely and put to use. * Studies in English Literature 1500-1900 *Teaching Shakespeare with Purpose is not just a practical guide but an argument for the continued relevance of Shakespeare survey courses … Each chapter grounds the teaching theory in practical examples from a model class. The chapters are full of helpful activities including model close readings, themes, and questions from the plays selected (each chapter relies on a different one to model the pedagogy discussed). This approach is advantageous since it provides value for readers who may only have time to read a chapter or two. As well, the pedagogical process described is adaptable to any set of plays. Thompson and Turchi discuss framing, guided questions, entry points, and close readings that allow any teacher the structure she needs to get started on designing her Introduction to Shakespeare course while preserving an individual’s pedagogical strengths and the freedom to pick any of the plays … As someone working on an ‘Introduction to Shakespeare’ class for the first time, this book was a must read if only for the way that it helped put the task of design, teaching, and assessment, in perspective. However, the authors demystify and clarify the purpose of all of the aspects of an introductory course in a way that is not overbearing. Their argument is always student-centered and asks us to make choices about how we approach any aspect of the play (be it the history, the language, or the writing assignments we pick) in order to enhance the experience for the students. In this way, they have given readers a good model not just for the teaching of an ‘Introduction to Shakespeare’ course but other literature courses as well. * This Rough Magic *Table of ContentsChapter One: Introduction: The Realities of the 21st Century Chapter Two: Finding Your Purpose and Putting It into Action: Framing Chapter Three: ‘Ancient English’: Shakespeare’s Language Chapter Four: Embodiment: What Is It (Not)? Chapter Five: History: What Time Are You Thinking About? Chapter Six: Writing Assignments with a Purpose Chapter Seven: Assessment with a Purpose Chapter Eight: The Tyranny of Resources Bibliography Index

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Book SynopsisIntegrating forgotten tales of literary communities across Iran, Afghanistan and South Asia at a time when Islamic empires were fracturing and new state formations were emerging this book offers a more global understanding of Persian literary culture in the 18th and 19th centuries.

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Book SynopsisThe first major study of one of the most influential periodicals of the eighteenth and nineteenth centuries.

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Book SynopsisRevises current thinking about how genre operates in early modern theatre

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Book SynopsisFollowing the editors’ introduction to the collection, the essays in Scholarly Milton examine the nature of Milton’s own formidable scholarship and its implications for his prose and poetry–“scholarly Milton” the writer–as well as subsequent scholars’ historical and theoretical framing of Milton studies as an object of scholarly attention–“scholarly Milton” as at first an emergent and later an established academic discipline. The essays are particularly concerned with the topics of the ethical ends of learning, of Milton’s attention to the trivium within the Renaissance humanist educational system, and the development of scholarly commentary on Milton’s writings. Originally selected from the best essays presented at the 2015 Conference on John Milton in Murfreesboro, Tennessee, the essays have been considerably revised and expanded for publication. Trade ReviewReviews'"Scholarly Milton" remains an ongoing, transformative, intellectual, and bookish industry, showcasing the expansiveness of his learning and that of Miltonists who reap and contribute to the pages and rewards thereof. And here, the exercise of converting presentations, specifically those delivered at the final Conference on John Milton at Murfreesboro, into fully developed essays has paid off substantially in the communal production of Scholarly Milton.'Elizabeth Sauer, Modern Philology'In the impressive lead essay, Achinstein asserts that in the tracts, Milton’s practice of the Erasmian humanist philosophical tradition mitigates the limitations imposed ‘by the hermeneutic principles of biblical interpretation as sola scriptura’. These essays are of consistent high quality, and I cheerfully recommend the volume overall.' David V. Urban, The Year's Work in English Studies"This collection has the potential to be a repository of and catalyst for continued reflection on the importance of scholarship and will certainly generate new scholarly work on Milton and beyond."David A. Harper, Milton Quarterly (55.3-4)Table of ContentsAcknowledgements Introduction: Scholarly Milton Part 1: MILTON AND THE ETHICAL ENDS OF LEARNING 1. Sharon Achinstein High Enterprise: Milton and the Genres of Scholarship in the Divorce Tracts 2. Sam Hushagen, Typology and Milton’s Masterplot 3. James Ross Macdonald The Devil as Teacher in Paradise Lost 4. J. Antonio Templanza “The First and Wisest of Them All”: Paradise Regained and the Beginning of Thinking 5. Gardner Campbell Learning, Love, and the Freedom of the Double Bind Part 2: MILTON AND THE TRIVIUM 1. Emma Annette Wilson Re-Visiting Milton’s (Logical) God: Empson 2015 2. Russell Hugh McConnell God’s Grammar: Milton’s Parsing of the Divine 3. Joshua R. Held Raphael’s Peroratorio in Paradise Lost: Balancing Rhetorical Passion in Virgil and Paul Part 3: MILTON AND SCHOLARLY COMMENTARY 1. Emily E. Stelzer Euphrasy, Rue, Polysemy, and Repairing the Ruins 2. Nicholas Allred Paradise Finding Aids 3. Edward Jones Political Diplomacy, Personal Conviction, and the Fraught Nature of Milton’s Letters of State

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Book Synopsis'This book gives some of the very best of Shakespeare’s twenty-first-century colleagues an opportunity to share insights that can only come from playing him' Nicholas Hytner, from his Foreword Twelve leading actors take us behind the scenes of landmark Shakespearean productions, each recreating in detail their memorable performance in a major role. Roger Allam on his Falstaff in both Henry IV plays at Shakespeare’s Globe Eileen Atkins on Viola in two productions of Twelfth Night seventeen years apart Simon Russell Beale on Cassius in Deborah Warner’s modern-dress Julius Caesar Chiwetel Ejiofor on his Donmar Warehouse Othello, directed by Michael Grandage Sara Kestelman on Hippolyta and Titania in Peter Brook’s iconic white-box Dream Ian McKellen on one of Shakespeare’s most demanding of roles: King Lear Michael Pennington on stepping in at the eleventh hour as Timon of Athens Alan Rickman on re-evaluating the melancholic Jaques in As You Like It Fiona Shaw on Shakespeare’s Shrew, Katherine, in Jonathan Miller’s production Patrick Stewart on his Las Vegas-set Shylock, a role he has played many times Harriet Walter on Imogen in Shakespeare’s late romance, Cymbeline, at the RSC Zoë Wanamaker on her National Theatre Beatrice, directed by Nicholas Hytner Each actor leads us through the choices they made in rehearsal, and how the character works in performance, shedding new light on some of the most challenging roles in the canon. The result is a series of individual masterclasses that will be invaluable for other actors and directors, as well as students of Shakespeare – and fascinating for audiences of the plays. Shakespeare On Stage: Volume 2 was shortlisted for the 2018 Theatre Book Prize. ‘Absorbing and original… Curry’s actors are often thinking and talking as that other professional performer, Shakespeare himself, might have done.’ TLS on Shakespeare On Stage: Vol. 1Trade Review'A remarkably rich collection... as well as the thoughtful step-by-step analyses of rehearsal and performance, the interviews abound in striking perceptions of the plays as a whole' * Shakespeare Survey *'[Gives the reader] that amazing, engrossing feeling of listening to someone who is an expert in their field… one of the other joys of this book is the reminder that it brings of how intellectual acting is. These actors talk about the roles with great knowledge and affection… give [it] to a student to read and be inspired' * Drama Magazine *'These thorough and penetrating interviews are greatly illuminating' * Word Matters - Journal of the Society of Teachers of Speech and Drama *'[This] is becoming a fascinating series... a good read for fans of the performers, Shakespeare or acting in general' * British Theatre Guide *

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Book SynopsisIn The Quality of Mercy, one of the world's most revered theatre directors reflects on a fascinating variety of Shakespearean topics. In this sequence of essays, Peter Brook debates such questions as who was the man who wrote Shakespeare's plays, why Shakespeare is never out of date, and how actors should approach Shakespeare's verse. He also revisits some of the plays which he has directed with notable brilliance, such as King Lear, Titus Andronicus and, of course, A Midsummer Night's Dream. Taken as a whole, this short but immensely wise book offers an illuminating and provocative insight into a great director's relationship with our greatest playwright. 'An invaluable gift from the greatest Shakespeare director of our time... Brook's genius, modesty, and brilliance shine through on every page' James Shapiro, author of 1599: A Year in the Life of William ShakespeareTrade Review'Should be required reading for any aspiring young directors and actors but also all serious theatregoers... the writing is a model of clarity, the ideas challenging but sensible... it should be on every reader's bookshelf' * British Theatre Guide *'Each new page you turn is a delight. And all written in such an unpretentious, gentle, often amusing style. A joy' * ReviewsGate.com *'This volume positively seethes and sparkles with ideas... provides not only acute insights into the texts, but intriguing details of performance history, and a few morsels of grand theatrical gossip' * Scotsman *'Exquisite... enthralling... This short, modest and brilliant book does more than many more grandiose tomes to renew the reader's fascination with the plays, and the theatre-goer's wonder at the extraordinary and diverse sensations locked up inside the First Folio. It should be required reading at all universities and drama clubs.' * Guardian *'If you want a gift for an actor, look no further than this educative, engrossing, entertaining book' * The Stage *'Contains within its scintillating reflections the essence of all that Peter Brook has learned over a lifetime. Whoever imagined that a book about Shakespeare could also be such fun?' * Wall Street Journal *

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Book SynopsisThis entertaining collection gathers together William Shakespeare's wisest and wittiest quotations. Quotable Shakespeare proves that brevity is the soul of wit and is sure to delight all lovers of the Bard's uniquely perceptive and influential works.

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Book Synopsis'Like so much of Renaissance Art, Shakespeare's work bears an open secret. The esoteric spiritual content is undisguised, though it may be unexpected and not always immediately recognized. And, like all the great artistic achievements...this work remains incomplete until we recognize and respond to its open invitation that we become active participants.' - from the IntroductionThe perennial universal appeal of Shakespeare's work is well established. His core themes explore the challenges of the human condition whilst celebrating the potential of human beings to achieve and develop in earthly life. But what is it that enables Shakespeare's characters to live and breathe beyond the confines of their written roles, some 400 years after the plays were first performed? In these collected lectures, edited with an extensive introduction by Andrew Wolpert, Rudolf Steiner throws new light on the Bard's work, describing the on-going life that flows from it, and the profound spiritual origins of Shakespeare's inspirations. He shows how Shakespeare can enliven us in our longing for contemporary ideals and truths; indeed, in our goal of becoming fully human. Our engagement with the plays, not just as actors and directors, but also as students and members of an audience, can thus become a co-creative participation in the redemptive potential of Shakespeare's enduring legacy. Steiner speaks about Shakespeare in connection with the evolution of the arts of poetry and drama, and the transitions between cultural epochs. He reminds us of the sources and characteristics of classical Greek drama, recalling Aristotle's definition of drama as catharsis, and pointing to Shakespeare's connection to these cultural and historical wellsprings.

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Book SynopsisIn their lively and engaging edition of this sometimes neglected early play, Cox and Rasmussen make a strong claim for it as a remarkable work, revealing a confidence and sureness that very few earlier plays can rival. They show how the young Shakespeare, working closely from his chronicle sources, nevertheless freely shaped his complex material to make it both theatrically effective and poetically innovative. The resulting work creates, in Queen Margaret, one of Shakespeare's strongest female roles and is the source of the popular view of Richard Neville, Earl of Warwick as 'kingmaker'. Focusing on the history of the play both in terms of both performance and criticism, the editors open it to a wide and challenging variety of interpretative and editorial paradigms.

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Book SynopsisSuzanne Gossett offers a full and critical performance history, with an introduction showing how the play's performance history has paralled the criticism. It then gives an interpretation of this two-generation romance, with its successive male and female central characters, based on a reading 'through the family', and influenced by the feminist and new historicist criticism of the last two decades. The edition integrates cumulative research on Shakespeare's collaborative authorship and the transmission of the text without rewriting the play or ignoring years of emendations.

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Book SynopsisTwo Gentlemen of Verona is commonly agreed to be Shakespeare's first comedy, and probably his first play. A comedy built around the confusions of doubling, cross - dressing and identity, it is also a play about the ideal of male friendship and what happens to those friendships when men fall in love.William Carroll's engaging Introduction focuses on the traditions and sources that stand behind the play and explores Shakespeare's unique and bold treatment of them. Special attention is given to the strong female figure of Julia and the controversial final scene.

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Book SynopsisTimon of Athens has struck many readers as rough and unpolished, perhaps even unfinished, though to others it has appeared as Shakespeare's most profound tragic allegory. Described by Coleridge as 'the stillborn twin of King Lear', the play has nevertheless proved brilliantly effective in performance over the past thirty or forty years.This edition accepts and contributes to the growing scholarly consensus that the play is not Shakespeare's solo work, but is the result of his collaboration with Thomas Middleton, who wrote about a third of it. The editors offer an account of the process of collaboration and discuss the different ways that each author contributes to the play's relentless look at the corruption and greed of society. They provide, as well, detailed annotation of the text and explore the wide range of critical and theatrical interpretations that the play has engendered. Tracing both its satirical and tragic strains, their introduction presents a perspective on the play's meanings that combines careful elucidation of historical context with analysis of its relevance to modern-day society. An extensive and well-illustrated account of the play's production history generates a rich sense of how the play can speak to different historical moments in specific and rewarding ways.Trade Review'...a critical introduction that...could scarcely be better...an admirable edition of Shakespeare and Middleton's challenging collaberative play.' Shakespeare Quarterly (2009)

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Book SynopsisIn All’s Well That Ends Well, Helen, a lowly ward, risks her life to satisfy her boundless love for Bertram, a count and ward to the King of France. Following him to Paris, she concocts an endangering plan to win the King of France’s favour and induce Bertram’s hand in marriage. In the comprehensive introduction to this new, fully-illustrated Arden edition, Suzanne Gossett takes a transformative look at the play’s critical and performance history by offering fresh perspectives on the conundrum of genre, sexuality and moral dilemmas with masculinity and the structures of family. The authoritative play text is amply annotated to clarify its language and allusions, and two appendices debate the play’s authorship and review its casting. Offering students and scholars alike a wealth of insight and new research, this edition maintains the rigorous standards of the Arden Shakespeare.Trade ReviewThe best edition available with a particularly thoughtful and undogmatic introduction. * Paul Hartle, University of Cambridge, UK *Table of ContentsList of illustrations General editors’ preface Preface Introduction ALL’S WELL THAT ENDS WELL Appendix 1: Casting All's Well That Ends Well Appendix 2: The Authorship Debate Abbreviations and references Index

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Book SynopsisThe period from 1650 to 1800 encompasses the Restoration, the 1688 Revolution, the failure of the Company of Scotland's Darien colony, the 1707 Acts of Union, the Jacobite Risings of 1715 and 1745, and the emergence of the new British Empire as a global superpower. It also witnessed religious, economic, and social upheavals, the beginnings of industrialisation, and the start of the Clearances, as well as the astonishing efflorescence of intellectual activity known as the Scottish Enlightenment. This International Companion offers new perspectives on how the long eighteenth century transformed Scotland's literary cultures both high and low, dominant and marginalised in English, Gaelic, Latin, and Scots.

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Book SynopsisDespite the reshifting of values that has affected every aspect of life in the 21st century, William Shakespeare still stands as the greatest writer the English language has ever produced. Even so, many people have never read him. If you have never read the Bard-or if you''ve tried and given up in frustration-you need SHAKESPEARE FOR BEGINNERS.Author Brandon Toropov opens with the observation that Shakespeare''s genius is not in his (or England''s) history, it''s in his words, most notably, his plays-in his brilliant stories, unforgettable characters, and the impossible beauty of his language. So SHAKESPEARE FOR BEGINNERS skips the historical foreplay and goes straight to Shakespeare''s plays. The book offers clear, concise descriptions and plot summaries of each play; it lists key phrases and important themes, explains the main ideas behind each work and features excerpt of important passages (with explanatory notes on tough words.) And it is the only ''entry level'' book available outside Great Britain that covers all of Shakespeare''s plays.

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Book SynopsisRadical Botany uncovers a speculative tradition that conjures new languages to grasp the life of plants in all its specificity and vigor. Plants complement and challenge notions of human life. The book traces the implications of the speculative mobilization of plants within literature and art for feminism, queer studies, and posthumanist thought.Table of ContentsPreface | vii 1. Radical Botany: An Introduction | 1 2. Libertine Botany and Vegetal Modernity | 28 3. Plant Societies and Enlightened Vegetality | 56 4. The Inorganic Plant in the Romantic Garden | 86 5. The End of the World by Other Means | 114 6. Plant Horror: Love Your Own Pod | 144 7. Becoming Plant Nonetheless | 171 Acknowledgments | 203 Notes | 205 Works Cited | 253 Index | 269

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Book SynopsisFrom Gerald Ford''s preemptive pardon of Richard Nixon and Donald Trump''s claims that as president he could pardon himself to the posthumous royal pardon of Alan Turing, the power of the pardon has a powerful hold on the political and cultural imagination. In Theaters of Pardoning, Bernadette Meyler traces the roots of contemporary understandings of pardoning to tragicomic theaters of pardoning in the drama and politics of seventeenth-century England. Shifts in how pardoning was represented on the stage and discussed in political tracts and in Parliament reflected the transition from a more monarchical and judgment-focused form of the concept to an increasingly parliamentary and legislative vision of sovereignty.Meyler shows that on the English stage, individual pardons of revenge subtly transformed into more sweeping pardons of revolution, from Shakespeare''s Measure for Measure, where a series of final pardons interrupts what might otherwise have been a cycleTrade ReviewA valuable contribution to Law and Humanities scholarship and reflection on the future of liberal constitutionalism, Meyler's book cuts to the quick of pardoning practices from seventeenth-century England to contemporary America. Highlighting both the seemingly irresistible draw of pardoning as a theatrical assertion of sovereign power and the revolutionary opportunities latent in the uncoupling of sovereignty from the figure of the sovereign ruler, Meyler pierces the illusion of absolute authority and sets out an alternative Arendtian vision for the state grounded in forgiveness. * The New Rambler *Table of ContentsAcknowledgments Introduction: Theaters of Pardoning 1. Dramatic Judgments: Measure for Measure, Revenge, and the Institution of the Law 2. Emplotting Politics: James I and the "Powder Treason" 3. Non-Sovereign Forgiveness: Mercy among Equals in The Laws of Candy 4. From Sovereignty to the State: The Tragicomic Clemency of Massinger's The Bondman 5. Between Royal Pardons and Acts of Oblivion: The Transitional Justice of Cosmo Manuche and James Compton, Earl of Northampton 6. Pardoning Revolution: The 1660 Act of Oblivion and Hobbes's Recentering of Sovereignty Postlude: Pardoning and Liberal Constitutionalism Appendix A Appendix B Bibliography Index

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Book SynopsisIn London in 1770 Georg Christoph Lichtenberg (1742–1799) remarked, ‘What a work could be written on Shakespeare, Hogarth and Garrick! There is something similar in the genius of all three.’ Two-and-a-half centuries on, Robin Simon’s highly original and illuminating book takes up the challenge.William Hogarth (1697–1764) and David Garrick (1717–1779) closely associated themselves with Shakespeare, embodying a relationship between plays, painting and performance that had been understood since Antiquity and which shaped the rules for history painting drawn up by the Académie royale in Paris in the seventeenth century.History painting was considered the highest form of art: a picture illustrating a moment drawn from just a few lines in a revered text. Hogarth’s David Garrick as Richard III (1745) transformed those ideas because, although it looked like a history painting, it was also a portrait of an actor in performance. With it, Hogarth established the genre of theatrical portraiture, a new and distinctively British kind ofhistory painting.This book offers a fresh examination of theatrical portraits through close analysis of the pictures and of the texts used in performance. It also examines the central role of the theatre in British culture, while highlighting the significance of Shakespeare, Hogarth and Garrick in the European Enlightenment and the rise of Romanticism. In this context another trio of genius features prominently: Lichtenberg, GottholdEphraim Lessing and Denis Diderot.Familiar paintings and performances are seen in an entirely new light, while unfamiliar pictures are also introduced, including major paintings and drawings that have never been published.The final chapter shows that the inter-relationship between plays, painting and performance survived into the age of cinema, revealing the pictorial sources of Laurence Olivier’s legendary film Richard III.

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Book SynopsisMacbeth may well be the most terrifying play in the English language, but it hasn’t always been seen that way. It has divided critics more deeply than any other Shakespearian tragedy – and the argument, in essence, has been about just how terrifying the play really is and about how we should react, or do react, to Macbeth himself. No Shakespearian tragedy gives as much attention to its hero as Macbeth. With the exception of Lady Macbeth, there is much less emphasis on the figures round the hero than there is in Hamlet or Othello. Unlike King Lear, with its parallel story of Gloucester and his sons, Macbeth has no sub-plot. And its imagery of sharp contrasts – of day and night, light and dark, innocent life and murder – adds to the almost claustrophobic intensity of this most intense of plays. So why are critics so divided about Macbeth? Why is it so disturbing? Why do we feel compelled to admire its hero even as we condemn him? How reassuring is the last scene, when Macbeth is killed and Malcolm becomes king? Do we see this as the intervention of a divine providence, a restoration of goodness after all the evil? Or do we see instead signs that the whole cycle of violence and murder could be about to begin all over again? And what does the play really tell us about good and evil? In this book Graham Bradshaw answers these questions, and shows how it is only in recent years that the extent of Shakespeare’s achievement in Macbeth, and the nature of his vision in the play, has really been grasped.

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Book Synopsis''He loved all mankind; for fortune prevented him from knowing there were rascals.''Oliver Goldsmith''s hugely successful novel of 1766 remained for generations one of the most highly regarded and beloved works of eighteenth-century fiction. It depicts the fall and rise of the Primrose family, presided over by the benevolent vicar, the narrator of a fairy-tale plot of impersonation and deception, the abduction of a beautiful heroine and the machinations of an aristocratic villain. By turns comic and sentimental, the novel''s popularity owes much to its recognizable depiction of domestic life and loving family relationships.Regarded by some as a straightforward and well-intentioned novel of sentiment, and by others as a satire on the very literary conventions and morality it seems to embody, The Vicar of Wakefield contains, in the figure of the vicar himself, one of the most harmlessly simply and unsophisticated yet also ironically complex narrators ever to appear in English fiction. ABOUT THE SERIES: For over 100 years Oxford World''s Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford''s commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

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