Literary studies: c 1600 to c 1800 Books

Book SynopsisThe Critical Heritage gathers together a large body of critical sources on major figures in literature. Each volume presents contemporary responses to a writer''s work, enabling students and researchers to read the material themselves.Table of ContentsThe Author's Farce (30 March 1730), I JOHN PERICIVAL first Earl of Egmont, from diary entry, 24 April 1730, 2 Letter signed IBAVIUS' {JOHN MARTYN], II June 1730, 3 The Modern Husband (14 February 1731-2) 4 Letter signed 'DRAMATICUS' [SIR WILLIAM YONGB (1), 5 .[THOMAS COOKU], from The Comedian or Philosophical The Covent-Garden Tragedy (I June 1732.) 6 Letter signed 'PUBLICUS', The Grub-street Journal. 5 June 1732, 7 Letter signed 'DRAMATICUS' [SIR WILLIAM YONGB, 8 Letters signed 'PROSAICUS' 29June 1732, 9 Letters signed 'DRAMATICUS' WILLIAM YONCE July 1732 /Part Contents

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Book SynopsisShakespeare's plays have been adapted or rewritten in various ways since the seventeenth century. This anthology brings together thirteen theatrical adaptations of Shakespeare's work from around the world and across the centuries.Trade Review'A wonderfully rich collection of plays ... an important new resource for students and scholars interested in Shakespeare's drama and its afterlives'. - Susan Bennett, University of CalgaryTable of ContentsIntroduction 1.The Women's Prize or the Tamer Tamed 2.The History of King Lear 3.King Stephen: a Fragment or a Tragedy 4.The Public (El Público) 5.The Resistible Rise of Arturo Ui 6.uMabatha 7.Measure for Measure 8.Hamletmachine 9.Lear's Daughters 10.Desdemona: a Play about a Handkerchief 11.This Island's Mine 12.Harlem Duet Further adaptations

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Book SynopsisThis anthology assembles 144 primary texts and documents written by women between 1550 and 1700 and reveals a comprehensive view of the intellectual and literary lives of women in early modern England. The writings range from poetry to philosophical treatises, addressing a wide array of subjects.Trade Review"Reading Early Modern Women is an essential resource for teaching and research, providing as it does a wide array of texts not easily accessed, from medical books, through prophecies and letters, to poetry and music. Contextualized both critically and historically, this book allows contemporary readers to benefit from the dazzling array of early modern women's writing." -- Marion Wynne-Davies, University of Dundee"This book should certainly be recommended to students as an expert guide through a range of materials which will be new to them; it will also be of invaluable use to scholars in the field, as it makes available and discusses a fascinating number of texts otherwise available only in archives. One of the book's many strengths is the way in which each text and each genre is not only adeptly introduced, but is also cross-referenced with other works, primary and secondary, both in the anthology and beyond it. This serves not only to open up the expanding field of early modern women's writing to the newcomer, but also to indicate ways in which researchers can expand their studies across a number of interrelated literary areas." -- Hilary Hinds, Lancaster University, UK"Reading Early Modern Women is an astonishing achievement. Bringing together 150 manuscript and print texts--many published here for the first time--as well as commentaries by more than 80 scholars, this remarkable collection introduces us to a very broad spectrum of the literary achievements of women. It should quickly become the centerpiece of many undergraduate and graduate courses in early modern literature, history, and women's studies. Thanks to Ostovich and Sauer's extraordinary efforts, early modern women writers may finally get the Renaissance they so richly deserve." -- Douglas A. Brooks, Texas A&M University"This imaginatively conceived and brilliantly executed anthology with its ingeniously chosen texts, its illustrative images from the original books or manuscripts, and its impressive array of distinguished contributing editors shows that whatever their disadvantages and the injustices of their society early modern women did indeed have not just a room of their own but a whole house, a whole palace, and even (as Christine de Pisan insisted), a whole city. Ostovich and Sauer have produced an invaluable resource for anybody interested in Renaissance literature or women's studies." -- Anne Lake Prescott, Professor of English at Barnard College and coeditor of Female and Male Voices in EarlyModern England: A Renaissance Anthology"Reading Early Modern Women is an astonishing achievement. Bringing together 150 manuscript and print texts--many published here for the first time--as well as commentaries by more than 80 scholars, this remarkable collection introduces us to a very broad spectrum of the literary achievements of women. It should quickly become the centerpiece of many undergraduate and graduate courses in early modern literature, history, and women's studies. Thanks to Ostovich and Sauer's extraordinary efforts, early modern women writers may finally get the Renaissance they so richly deserve." -- Douglas A. Brooks, Texas A&M UniversityTable of ContentsINTRODUCTION: REREADING WOMEN’S LITERARY HISTORY 1 Legal Documents/Women’s Testimony 2 The Status of Women 3 Mothers’ Legacies and Medical Manuals 4 Religion, Prophecy, and Persecution 5 Letters 6 Life-writing: Nonfiction and Fiction CHAPTER 7 Translations/Alterations 8 Poetry 9 Plays 10 Applied Arts and Music

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Book SynopsisThis 1998 book is the fourth volume of essays by actors with the Royal Shakespeare Company. Twelve actors describe the Shakespearian roles they played in productions between 1992 and 1997. The contributors are Christopher Luscombe, David Tennant, Michael Siberry, Richard McCabe, David Troughton, Susan Brown, Paul Jesson, Jane Lapotaire, Philip Voss, Julian Glover, John Nettles, and Derek Jacobi. The plays covered include The Merchant of Venice, Love's Labours Lost, The Taming of the Shrew, The Winter's Tale, and Romeo and Juliet, among others. The essays divide equally among comedies, histories, and tragedies, with emphasis among the comedies on those notoriously difficult 'clown' roles. A brief biographical note is provided for each of the contributors and an introduction places the essays in the context of the Stratford and London stages.Trade Review' … excellent reading … The fluency and wit with which all of these actors discuss the texts they perform puts us professional academics to shame. The book is thoroughly to be recommended.' The Times Literary SupplementTable of ContentsList of illustrations; Preface; Introduction Robert Smallwood; Lancelot Gobbo in The Merchant of Venice and Moth in Love's Labour's Lost Christopher Luscombe; Touchstone in As You Like It David Tennant; Petruccio in The Taming of the Shrew Michael Siberry; Autolycus in The Winter's Tale Richard McCabe; Richard III David Troughton; Queen Elizabeth in Richard III Susan Brown; Henry VIII Paul Jesson; Queen Katherine in Henry VIII Jane Lapotaire; Menenius in Coriolanus Philip Voss; Friar Lawrence in Romeo and Juliet Julian Glover; Brutus in Julius Caesar John Nettles; Macbeth Derek Jacobi; Production credits.

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Book SynopsisYork Notes Advanced offer a fresh and accessible approach to English Literature. This market-leading series has been completely updated to meet the needs of today's A-level and undergraduate students. Written by established literature experts, York Notes Advanced intorduce students to more sophisticated analysis, a range of critical perspectives and wider contexts.

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Book SynopsisShakespeare: Criticism and Theory is an anthology of the most significant essays and book chapters published on Shakespeare in the second half of the twentieth century. An anthology of about 50 of the most significant essays and book chapters published on Shakespeare in the second half of the twentieth century. Introduces students to the variety of theoretical positions, thematic claims, methodologies, and modes of argument in Shakespeare criticism over the last 50 years. Critical views represented range from the old style historicism of E.M.W. Tillyard and the new criticism of William Empson to the new historicism of Stephen Greenblatt and the feminist perspective of Catherine Belsey. Pieces are organised into categories of critical thought and introduced in clear language. Most pieces are reproduced in their entirety. Table of ContentsPreface x Acknowledgments xiv Part I Authorship 1 1 Looney and the Oxfordians 4 S. Schoenbaum Part II New Criticism 15 2 The Naked Babe and the Cloak of Manliness 19 Cleanth Brooks 3 ‘‘Honest’’ in Othello 35 William Empson 4 ‘‘Introductory’’ Chapter About the Tragedies 50 Wolfgang Clemen 5 The ‘‘New Criticism’’ and King Lear 63 William R. Keast Part III Dramatic Kinds 89 6 The Argument of Comedy 93 Northrop Frye 7 Ambivalence: The Dialectic of the Histories 100 A. P. Rossiter 8 The Saturnalian Pattern 116 C. L. Barber 9 The Jacobean Shakespeare: Some Observations on the Construction of the Tragedies 125 Maynard Mack Part IV The 1950s and 1960s: Theme, Character, Structure 149 10 Reflections on the Sentimentalist’s Othello 152 Barbara Everett 11 Form and Formality in Romeo and Juliet 164 Harry Levin 12 King Lear or Endgame 174 Jan Kott 13 The Cheapening of the Stage 191 Anne Righter [Barton] 14 How Not to Murder Caesar 209 Sigurd Burckhardt Part V Reader-Response Criticism 221 15 On the Value of Hamlet 225 Stephen Booth 16 Rabbits, Ducks, and Henry V 245 Norman Rabkin Part VI Textual Criticism and Bibliography 265 17 The New Textual Criticism of Shakespeare 269 Fredson Bowers 18 Revising Shakespeare 280 Gary Taylor 19 Narratives About Printed Shakespeare Texts: ‘‘Foul Papers’’ and ‘‘Bad Quartos’’ 296 Paul Werstine Part VII Psychoanalytic Criticism 319 20 ‘‘Anger’s my meat’’: Feeding, Dependency, and Aggression in Coriolanus 323 Janet Adelman 21 The Avoidance of Love: A Reading of King Lear 338 Stanley Cavell 22 To Entrap the Wisest: Sacrificial Ambivalence in The Merchant of Venice and Richard III 353 René Girard 23 What Did the King Know and When Did He Know It? Shakespearean Discourses and Psychoanalysis 365 Harry Berger, Jr. 24 The Turn of the Shrew 399 Joel Fineman Part VIII Historicism and New Historicism 417 25 The Cosmic Background 422 E. M. W. Tillyard 26 Invisible Bullets: Renaissance Authority and its Subversion, Henry IV and Henry V 435 Stephen Greenblatt 27 The New Historicism in Renaissance Studies 458 Jean E. Howard 28 ‘‘Shaping Fantasies’’: Figurations of Gender and Power in Elizabethan Culture 481 Louis Adrian Montrose Part IX Materialist Criticism 511 29 Shakespeare’s Theater: Tradition and Experiment 515 Robert Weimann 30 King Lear (ca. 1605–1606) and Essentialist Humanism 535 Jonathan Dollimore 31 Give an Account of Shakespeare and Education, Showing Why You Think They Are Effective and What You Have Appreciated About Them. Support Your Comments with Precise References 547 Alan Sinfield Part X Feminist Criticism 565 32 Egyptian Queens and Male Reviewers: Sexist Attitudes in Antony and Cleopatra Criticism 570 L. T. Fitz [Linda Woodbridge] 33 ‘‘I wooed thee with my sword’’: Shakespeare’s Tragic Paradigms 591 Madelon Gohlke Sprengnether 34 The Family in Shakespeare Studies; or Studies in the Family of Shakespeareans; or The Politics of Politics 606 Lynda E. Boose 35 Disrupting Sexual Difference: Meaning and Gender in the Comedies 633 Catherine Belsey Part XI Studies in Gender and Sexuality 651 36 ‘‘This that you call love’’: Sexual and Social Tragedy in Othello 655 Gayle Greene 37 The Performance of Desire 669 Stephen Orgel 38 The Secret Sharer 684 Bruce R. Smith 39 The Homoerotics of Shakespearean Comedy 704 Valerie Traub Part XII Performance Criticism 727 40 Shakespeare and the Blackfriars Theatre 732 Gerald Eades Bentley 41 The Critical Revolution 745 J. L. Styan 42 William Shakespeare’s Romeo þ Juliet : Everything’s Nice in America? 750 Barbara Hodgdon 43 Deeper Meanings and Theatrical Technique: The Rhetoric of Performance Criticism 762 William B. Worthen Part XIII Postcolonial Shakespeare 777 44 Nymphs and Reapers Heavily Vanish: The Discursive Con-texts of The Tempest 781 Francis Barker and Peter Hulme 45 Sexuality and Racial Difference 794 Ania Loomba 46 Discourse and the Individual: The Case of Colonialism in The Tempest 817 Meredith Anne Skura Part XIV Reading Closely 845 47 Shakespeare’s Prose 848 Jonas A. Barish 48 The Play of Phrase and Line 861 George T. Wright 49 Transfigurations: Shakespeare and Rhetoric 880 Patricia Parker Index 908

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Book SynopsisIn detailed commentaries on Shakespeare’s 154 sonnets, Vendler reveals previously unperceived imaginative and stylistic features of the poems, pointing out not only new levels of import in particular lines, but also the ways in which the four parts of each sonnet work together to enact emotion and create dynamic effect.Trade ReviewThis book is a great achievement, the work of an author with an almost devout passion for good poems, a passion that the academy has not succeeded in killing. -- Frank Kermode * New Republic *Helen Vendler discloses, with great patience and ingenuity, how similarly adequate to the perceived splendor and urgency of the sonnets are their rhetorical conventions, devices that "work" as multifariously for lyric poetry as the stage contrivances of the Elizabethan (and Jacobean) theater did for the plays...Vendler is confident that "the sonnets will remain intelligible, moving and beautiful to contemporary and future readers." They will, if such readers also read Vendler's book. For hers is the most intricately inquiring and ingeniously responding study of these poems yet to be undertaken...Hers will prove to be the most valuable critical performance in recent American literature on classic texts...The Art of Shakespeare's Sonnets is an authentic act of contemporary criticism as well as a reading of the most cherished lyric poetry in the English language. It constitutes a ground of poetic apprehension that cannot be gainsaid, and it offers the opportunity to enjoy the art of poetry where we all agree it must be found, as one enjoys most what one understands best. -- Richard Howard * New York Times Book Review *Reading the sonnets knowing that Ms. Vendler is about to have her say serves to sharpen your awareness of the poetry considerably. In fact, with her reading over your shoulder, so to speak, you see deeper into the poetry than ever before. Each essay forces you to reread the sonnet under discussion and come a little closer to understanding this guy Shakespeare in the poem. -- Christopher Lehmann-Haupt * New York Times *Helen Vendler...has produced here what is probably the least irrelevant and most critically illuminating of all extended commentaries on the Sonnets. -- John Bayley * New York Review of Books *A few pages of this marvelous study convince us that "no poet ever found more linguistic forms to replicate human responses than Shakespeare in the Sonnets." * The Guardian *This eagerly awaited work has been nine years coming, an understandable period considering the magnitude of Helen Vendler's project...In her valuable introduction, Vendler declares that the sonnets represent "the largest tract of unexamined Shakespearean lines left open to scrutiny." Readers like me, who thought they were relatively familiar with these poems, will discover just how unfamiliar their various sequences turn out to be…It is consistent with Vendler's total immersion in the sonnets that she has learned them all by heart, as an enabling means of support for the 'evidential' criticism--in which "instant and sufficient linguistic evidence" is produced to back up every critical remark--she so unfailingly and brilliantly practices. -- William H. Pritchard * Boston Sunday Globe *Helen Vendler's long study of the art of Shakespeare's Sonnets is that purely aesthetic study of poetic language in action...Reading it is like being offered a huge plate of oysters, or doing a Spot-the-Ball competition, or playing obsessively with a Rubik's Cube that always comes out right after the effort of following a tight technical argument...It is Vendler's supreme critical virtue that she can write from inside a poem, as if she is in the workshop witnessing its making...Again and again, I want to haul out examples of this supreme critical imagination at work, but it should be apparent that criticism of the Sonnets, and by extension, critical accounts of poetry, will never be the same again. This is an epic, innovatory study which ought to mark a new beginning for criticism. -- Tom Paulin * London Review of Books *From time to time, a work of criticism appears that promises to inaugurate a new phase of the art...Roland Barthes, Paul de Man, Stephen Greenblatt: each heralded, in different ways, a paradigm shift in critical practice. And now Helen Vendler...makes a bold attempt to change criticism again. Her ambitious chef d'oeuvre, the fruit of decades of memorizing and meditating on Shakespeare's Sonnets, significantly takes the form of a critical commentary...She has chosen her topic strategically. The Sonnets is the supreme lyric masterpiece in English, yet, although often edited, it has been neglected critically, as if too challenging and demanding, too dangerous for direct response. Yet Vendler's originality goes further. For she has decided to return criticism to the study of art; to the sort of response that leads to appreciative evaluation rather than manipulation...The rapid adumbration of Shakespeare's variety is as brilliant as anything Vendler has written. But in commenting on each individual sonnet in turn, she surpasses herself, again and again making fresh observations on poems we thought familiar. In almost any other critic this would be a tour de force. But in her it is simply honest empiricism, free from any agenda but that of being receptive. -- Alastair Fowler * Times Literary Supplement *The Art of Shakespeare's Sonnets by Helen Vendler is a superb close reading of the sonnets one by one. It is also an invaluable master class on how to read a poem, how to attend to the patterns of sound within a poem, how to explore the way in which sense and sound combine in the sonnets. -- Colm Tóibín * Times Literary Supplement *[The Art of Shakespeare's Sonnets is] a heady journey into the sounds, structures, and strategies of the sonnets, led by a guide as perceptive and rigorously instructive as one could wish for...Anyone glancing at just a few of the essays will benefit from Vendler's microscopic examinations. To read the book from start to finish, however, is to receive a thorough education in how to look at a poem. One feels that when Shakespeare wrote the line, 'A liquid prisoner pent in walls of glass,' he hoped one day for a reader who would see in this image what Vendler sees: 'the emotionally labile contents of any sonnet as they preserve their mobility within the transparent walls of prescribed length, meter, and rhyme.' This outstanding work of criticism has made those walls and what lies behind them very clear. -- Robert Atwan * Boston Review *[Featured in "The Globe 100" for 1998]Vendler stresses Shakespeare's hyperconsciousness as a writer, a quality she seems to share. She approaches her detailed study with the utter scrupulousness of a true scholar, explicating the poems as poems. Her strict emphasis on poetics and her thoroughness separate her study from its predecessors. -- Philippa Sheppard * Toronto Globe and Mail *Though intricate and technical, Vendler's analysis of the sonnets is never boring...Her meticulous structures of analysis are a gift: They quietly allow one's own interpretive faculty to rise. By clearing up all the mechanical obstacles to understanding, your own apprehension of the poem emerges whole, and you've only to recognize it...Vendler's myriad attentions to the minute patterning of words and sounds yield...mysterious glories. She diligently, even stringently, employs her technical surveys, and what emerges from beneath their grid is surprising, substantial, evanescent. -- Mona Simpson * Los Angeles Times *Vendler has lived with these works all her life, and spent much of the past nine years working on this hefty book. The result is more than a reliable guide, it is a portable critical encyclopedia...In short, this is just the book for anybody wishing to spend a little quality time with our greatest poet. * Washington Post *Vendler's careful and sympathetic examination of the poems' organizing principles (such as the 'strategies of unfolding' that Shakespeare uses to shift a sonnet's emotional terrain, sometimes repeatedly, as the poem proceeds) yields surprising insights...Vendler proposes that her book serve as a supplement to annotated texts such as the Penguin and the Yale editions, but she is probably selling herself short. Her volume is fuller than the Penguin, and more inviting than Stephen Booth's impressive but rather forbidding Yale edition. A reader who has never tried the sonnets in their entirety, or at least looked at them in college, would have no trouble with this engaging and enlightening edition. -- Gregory Feeley * Philadelphia Inquirer *[The Art of Shakespeare's Sonnets] adds enormously to our understanding and prods us to continue to make our own discoveries…[It] grafts new feathers onto the wings of our understanding, lifting us closer to Heaven's gate, and it once more confirms Vendler's status as one of the smartest critics around. -- Jay Ragoff * Books in Review *[Best of 1998 issue]If you are a writer who still uses English words (rather than chockablock bricks of jargon), this is the book for you. Professor Vendler takes Shakespeare's sonnets one by one and word by word. She talks about what poems do and how they do it--their architecture, narrative, music, and language--so, along with the aperçus and sharp insights, there are nifty charts and graphs. There is also a CD of Vendler reading the sonnets aloud [available with the hardcover edition only], lest we forget that words are noise as well as ink -- Dave Hickey * Artforum *Vendler has created an exhaustive and wonderful work on Shakespeare's sonnets...This study will become a standard work and is essential for all academic libraries. -- Teresa Berry * Library Journal *Close readings that train a brilliant spotlight on Shakespeare's poetic performance...A celebrated and prolific critic, reviewer, and lecturer on poetry, Vendler offers an illuminating companion for Bardolators of all levels and stripes...Vendler analyzes each sonnet in turn (they appear in both original and modernized formats), explicating in an accessible manner the structures that organize them...An immensely enriching account of Shakespeare's complex verse: readings whose perspicuity and accuracy will form a solid basis for many more. * Kirkus Reviews *With admirable self-reliance and hardly a glance at the main stream of historical and gender-studies criticism, the famed Harvard professor reads the poems pragmatically, as 'verbal contraptions,' explaining how and why they work the way they do. The result is not just a few brilliant perceptions about, say, Shakespeare's use of clichés or chiasmus (although those are here), but the best teachers' edition on the market. Vendler's preface, and the essays that accompany each sonnet...will make a nearly perfect introduction for college students--or for anyone else who wants to learn how to read the poems for their skill and originality. * Publishers Weekly *There is so much more to these sonnets than meets the eye, Vendler's insights into their poetics are more than useful: they are indispensable. -- Tom Mayo * Dallas Morning News *[A] magisterial work...[and] an invaluable contribution to the serious study of Shakespeare's sonnets by a preeminent critic of lyric poetry, widely viewed as the best close reader of poetry writing today. -- Michael Shinagel * Harvard Review *Table of Contents* Conventions of Reference * Introduction * The Sonnets * Appendix 1: Key Words * Appendix 2: Defective Key Words * Words Consulted * Index of First Lines

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Book SynopsisTrade Review"One of the Times Literary Supplement's Books of the Year 2020""Finalist for the PROSE Award in Literature, Association of American Publishers""Shortlisted for the Parnassus Prize, Memoria College""Clever. . . . An incisive commentary on the pitfalls of contemporary American education. . . . A smart and valuable new book."---Daniel Blank, Los Angeles Review of Books"A wonderful new book."---Martha Barnette, public radio's A Way with Words"Newstok argues persuasively for a return to some of the pedagogical methods that proved so effective in the 1500s."---Paul Muldoon, Times Literary Supplement"With crisp, lapidary prose, Newstok writes authoritatively about the educational norms and practices that helped shape Shakespeare’s mind. . . . As Newstok essays the contours of a Renaissance education, he demonstrates with verve the effect it’s had on his own thinking. Put otherwise, the book is Newstok’s essay at thinking—and it’s a sterling attempt. . . . It will be of interest to any reader or teacher of Shakespeare—and it should be of interest to any serious reader or teacher. Watching Newstok think with Shakespeare is inspiring, and he proves an amiable guide."---Nathan M. Antiel, Principia: A Journal of Classical Education"Eminently sensible. . . . An emphatic appreciation of just how valuable the pedagogical insights of four centuries ago remain today."---David McInnis, Australian Book Review"Even in giving concrete, practical advice, Newstok displays a flexible virtuosity; he is a practiced craftsman at home in the workshop of language."---Joshua P. Hochschild, First Things"A delightful book. . . . Intelligent, perceptive, readable, useful."---Matthew Stewart, University Bookman"In 14 short, pithy chapters, Newstok shows how to recover the lost art of thinking."---Casey Chalk, American Conservative"Newstok convinces the reader that Shakespeare was indeed a great critical thinker, and was more creative, not less so, than we initially thought. What’s more, his many real-life examples show that the creativity and meaningful scrutiny attributed to Shakespeare are not only beneficial, but possible for all of us. How to Think like Shakespeare is a unique analysis of both Shakespeare’s formative education and his art, and will be useful for both educators seeking to break from current, quantitative, test-based pedagogical strategies and for creatives aspiring to hone their craft. It is also an insightful manual on how we can all improve our ability to think deeper and think better."---Melissa Johnson, Teachers College Record"This delightful book is an odd treasure. . . . [How to Think like Shakespeare is] an educational manifesto that should make for better people, better schools, colleges and universities, and better social relations between and among free citizens. There is a potential revolution in this odd treasure of a little book. Give it to some of your colleagues, if you think it isn't too late for them, but give it to all of your students. Let them know what they may have been missing – before it is too late."---Scott Crider, Ben Jonson Journal"An engaging, witty, wide-ranging critique of contemporary pedagogical fads and a spirited provocation to return to classical and Renaissance models. . . . A book of heavy import, lightly tossed, it is at once instructive and amusing, elucidating why and how Shakespeare is good to think with."---Louis J. Kern, Key Reporter"An absolutely delightful new book . . . a luscious and stimulating read."---Michael Cathcart, Stage Show, ABC Radio National"Scott Newstok’s latest book, How to Think like Shakespeare, could be just the game changer the teacher (and administrator should have) ordered. . . . I couldn’t help but be won over by his earnest enthusiasm for the subject and ended up wanting to hear still more."---Robert M. LoAlbo, PlayShakespeare.com"As a concise history of Western pedagogical development, How to Think like Shakespeare succeeds beautifully. . . . By the end of How To Think like Shakespeare, [Newstok] has us thoroughly convinced. To think and create effectively requires one to train and practice. By apprenticing ourselves to the past, we can ourselves become links in the glorious chain of human intellectual achievement."---Fernanda Moore, Chapter 16"How to Think like Shakespeare is not the work of an activist militating for his cause but a thinker reveling in his work. Newstok reminds us that this work is, above all, fun, and the calling on display is infectious."---Karl Schuettler, Patient Cycle"A lively and evocative new volume . . . a beautifully written, succinct description of educational principles derived from the best features of a renaissance education. The book is 'deliberately short,' but packed with quotations from the Bard and scores of great authors, all combined to make us think – and, with a little luck, to think more like 'our myriad-minded Shakespeare.' I highly recommend Newstok’s book for its pith, clarity, and insight – and the sheer breadth of its bibliography, including delightful footnotes, a bibliographic essay, and an index of Shakespearean cornucopia."---Rob Jackson, Institute for Classical Education"How to Think like Shakespeare by Scott Newstok attempts to capture what education really is, as well as what it ought to be, while also arguing where our modern system falls short, creating a disconnection from a life that is well-ordered and well-lived. . . . In an age of so much technology and lack of time for thoughtfulness, a conversation with the past might prove helpful, or at the very least expand our vocabulary."---Axie Barclay, San Francisco Book Review"Scott Newstok’s How to Think like Shakespeare: Lessons from a Renaissance Education really is a feel good book. A thick lather of the author’s enthusiasm, a comprehensive coverage of his subject matter, and the common sense inherent in his value judgments, work together to whip up a likeminded enthusiasm in his readers . . . I found the experience of reading Newstok nothing short of exhilarating"---Ian Lipke, Queensland Reviewers Collective"A playful, quote filled romp into the mind of Shakespeare." * Fourteen Lines blog *"Part humanist manifesto, part commonplace book, [How to Think like Shakespeare] combines erudition and accessibility in an inviting package that is a joy to read." * Sententiae Antiquae Reviews *"How to Think like Shakespeare is a book that does not fit neatly into any established genre. Above all it’s about how to think and how to teach people to think, but it’s not a how to manual. At a time when higher education is stampeding toward everything shiny, new, and up to date, this book is deliberately backward looking. It looks unapologetically to the past for ideas, models, and habits of mind that Newstok contends are just as relevant now as they were in Shakespeare’s time."---Erik Gilbert, BadAssessment.org"A clever new book."---Ian Warden, Canberra Times"[How to Think like Shakespeare is] a serious history of thinking, and although serious, it’s very readable, and even playful. . . . How To Think like Shakespeare is a refreshing book and a stimulating read. The lively writing is a great treat, with things to smile at as you read."---Ralph Goldswain, No Sweat Shakespeare"Great energy and clarity . . . [How to Think like Shakespeare] is entertaining throughout: the writer convinces us that he is learning with us, that we are learning with him… One of the great features of this eloquent, uplifting, enthusiastic yet realistic and beautifully produced book is its strong sense of moment."---Tony Voss, Shakespeare in Southern Africa"In fourteen concise essays, Scott Newstok endeavors to diagnose and treat, if not to cure, the most persistent and pernicious ills of American education. . . . Newstok is always gracious and never polemical . . . [How to Think like Shakespeare’s] most remarkable trait is its form, which is a multi-layered figure for the kind of education that Newstok hopes to revive. . . . Teachers will be refreshed to learn about the commonsense principles and practices of their lost intellectual heritage."---Christopher D. Schmidt, Moreana"What a joy it was to read a book about Renaissance literature and education that not only describes these things with full respect for their historical peculiarities, but also entertains the idea that they belong (or could belong) to us in the present, as equipment for living. . . . I thoroughly enjoyed this book and recommend that anyone who cares about teaching and learning read it again and again."---Sean Keilen, Cahiers Élisabéthains: A Journal of English Renaissance Studies"Clever"---John Warner, Chicago Tribune"The chief advantage of this book is the author’s replication of the Renaissance style he advocates. He makes his case with a hurricane of citations, references, and analogies that would have made Erasmus proud. . .This may be the strongest argument for rhetorical education: the Renaissance model may prepare students for the rough and tumble of social media far more effectively than the privatized, isolated pedagogy of the media based classroom."---John D. Schaeffer, Style"A bracing, witty argument for a pedagogy that is at once old and new. . . . What he demonstrates in his playful, infectiously enthusiastic pages is a more modest and more proximate idea of freedom: the kind that appears in the sheer joy of reading and learning. That joy, and the freedom it brings, come when we care about what we study. And no one has ever cared—not really—about a test."---Samuel Fallon, Renaissance Quarterly"Heavily but delightfully peppered with great quotes from great minds throughout history, How to Think like Shakespeare makes for a thoroughly enjoyable read. . . . through metaphor and wit, it makes just as compelling an argument as you’d expect from a mathematical proof. . . . All in all, this is a book I couldn’t do justice in any way in a simple review. Newstok has a deep and wide-ranging knowledge of literature, insight into why words have power, and an understanding of how to craft them. It presents valuable ideas in an engaging format, and will help you understand both our education systems and your own mind better."---Alexandru Micu, ZME Science"How to Think Like Shakespeare playfully juxtaposes early modern and contemporary habits of thought by way of wide-ranging examples. . . . Thought-provoking and enjoyable. . . . it is the type of book that I would like to recommend to my university students to read for pleasure—precisely because it is brief and lively and could easily engender serious reflection about how we think."---Michael Cop, Parergon"Newstok has a deep and wide-ranging knowledge of literature, insight into why words have power, and an understanding of how to craft them. [The book] presents valuable ideas in an engaging format, and will help you understand both our education systems and your own mind better. It will also give you the tools you need to guide the latter one better, and the insight as to where you want it to go. I thoroughly recommend you give this one a try."---Alexandru Micu, ZME Science"Newstok explains how Shakespeare’s generation was educated, and how we can return to these methods in this surprisingly enjoyable read. He romps through the world’s greatest thinkers and artists, drawing on their words and a good deal of humor to make his case. Think of Newstok as an erudite guide giving you a themed tour of his commonplace book. This was a great read."---Andrew Perlot, The Monthly Reading List

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Book SynopsisThis analysis of the performance history of "Hamlet" recreates many productions from three centuries. The final chapters extend the analysis to a number of film versions, and to important European stage productions. It is intended both for students of Shakespearean theatre and for playgoers.Table of ContentsList of PlatesSeries editor’s prefaceAcknowledgements1. Performing Hamlet’s meanings2. Hamlet on stage 1600-19003. The 1920s: old ways meet new stagecraft4. Gielgud and Olivier in the 1930s5. Post-war Hamlets at Stratford-upon-Avon: 1948 and 19656. Royal Shakespeare and Royal Court in 19807. Hamlet at the movies: Olivier and Kozintsev8. Through the looking glass: Zeffirelli and the BBC9. TranslationsNotesAppendixBibliographyIndex

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Book SynopsisIn this major reassessment of his subject, Richard Rowland restores Thomas Heywood-playwright, miscellanist and translator-to his rightful place in early modern theatre history. Rowland contextualizes and historicizes this important contemporary of Shakespeare, locating him on the geographic and cultural map of London through the business Heywood conducts in his writing. Arguing that Heywood''s theatrical output deserves the same attention and study that has been directed towards Shakespeare, Jonson, and more recently Middleton, this book looks at three periods of Heywood''s creativity: the end of the Elizabethan era and the beginning of the Jacobean, the mid 1620s, and the mid to late 1630s. By locating the works of those years precisely in the political and cultural conflicts to which they respond, Rowland initiates a major reassessment of the remarkable achievements of this playwright. Rowland also pays attention to Heywood in performance, seeing this writer as a jobbing playwrigTrade Review'Thomas Heywood’s Theatre, 1599-1639 fits a fascinating piece into the emerging picture of the "complete" early modern theatre. Rowland beds interpretation firmly in cultural, historical, and textual recuperation and analysis. He lets us know the weight and value of things in their time. He connects things to people and people to each other. He offers genealogies of circumstance and familiarity that vastly enrich our reading of the plays. He puts the authentic stink of London and her citizens into our nostrils. Rowland’s writing about Heywood makes you want to read Heywood - and even more, to see Heywood restored to our theatre.' Carol Chillington Rutter, University of Warwick, UK 'Richard Rowland’s lively study of Heywood is equally evocative of early modern London, demonstrating how the burgeoning self-awareness of the city and its citizens infused the drama appearing on its stages. The specificity of location in Edward IV is more than incidental to the drama, and owes much to the contemporary publication of John Stow’s Survey of London which helped to make topographical reference both safe and widely understood. Rowland further shows how Heywood explores another key component of early modern London society, the nexus of home, house and household. Here the emphasis is spatial rather than topographical, but the difficulties and dangers of metropolitan marriage and householding emerge clearly. Rowland argues that our appreciation of the complexity and power of Heywood’s drama gains greatly from its performance on stage, but this book will make at least an equal contribution to that end.' Vanessa Harding, Birkbeck, University of London, UK '...a work of fine scholarship... a significant and welcome achievement guiding us to reappraise a playwriting career that has too often been neglected...' Times Literary Supplement '... this excellent monograph is evidence of the importance of continuing scholarly work on this neglected playwright. It makes a sTable of ContentsContents: Introduction; Part I Heywood's English Landscapes: A 'London that yee see hourely': Heywood, Stow, and the invention of the city staged; Moving inside(s): Heywood's divided households. Part II Staging Roman Comedy in Stuart London: Introduction: stages of translation in early modern England; 'Of coyne and prtious marchandyse': trade and slavery in The Captives; 'Some mirth, some matter': the innovative tragicomedy of The English Traveller; Out of the dripping pan, into the fire: Loves Mistris. Part III Street Theatre: London's peaceable estate? The pageants; Index.

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Book SynopsisFirmly establishing the importance of the topic for understanding eighteenth-century English literature and culture, her work is bound to spur further discussion of the significance of incest discourses in the early modern period and beyond.Trade ReviewIn this imaginative and provocative study, the relationship between gender, incest and fiction is explored through a series of cultural, materialist and psychoanalytic readings of texts. -- Alison Stenton Times Literary Supplement 2004 Pollak's remarkable book has qualities typical of the best scholarly criticism: a thorough and assured grasp of the history and current discussions of the topic; the capacity to forcefully assert its own place in those discussions; and elegant movement between close readings and broader implications. Choice 2004 Pollak writes with clarity, conviction, and precision; she has authored a brilliant book, and literary studies will be richer for it. -- Alison Conway Eighteenth-Century Fiction 2005 Pollak's book is well worth reading for its illuminating analyses of individual novels; but it also does modern women a real service by using these close readings to denaturalize our false, present-day assumptions about incest. -- Eve Tavor South Atlantic Review 2005 Pollak succeeds in reading dialectically the discourse of sex, race, and class in the eighteenth-century novel, skillfully avoiding the traps of reifying categories. -- Ros Ballaster Journal of Literature, History, and the Philosophy of History 2006 The reading is illuminating, perhaps paradigm-altering... This book should change the way we think about fiction in the future. Eighteenth-Century Current Bibliography 2007Table of ContentsContents: Acknowledgments1 Introduction: Modernity, Incest, and Eighteenth-Century Narrative 2 Incest and Its Contingencies: Debates in Britain from the Reformation through the Eighteenth Century 3 Beyond Incest: Gender and the Politics of Transgression in Aphra Behn's Love Letters between a Nobleman and his Sister 4 Guarding the Succession of the (E)state: Incest and the Dangers of Representation in the Delarivier Manley's The New Atalantis 5 Moll Flanders, Incest, and the Structure of Exchange 6 Ingesting Incest: Maternity, Textuality, and the Problem of Origins 7 Incest and Liberty: Mansfield Park Notes Bibliography Index

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Book SynopsisOffers the first sustained examination of the relationship between law and selfhood in Shakespeare's work. Taking five plays and the sonnets as case studies, Kevin Curran argues that law provided Shakespeare with the conceptual resources to imagine selfhood in social and distributed terms, as a product of interpersonal exchange or as a gathering of various material forces.Trade ReviewCurran mobilizes for the study of Shakespeare a deep knowledge of Enlightenment and modern philosophy, and is equally adept at negotiating the complexities of early modern English law and culture."" - Luke Wilson, author of Theaters of Intention: Drama and the Law in Early Modern England

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Book SynopsisOriginally published in 1951, this book makes the original argument that the renowned English critic Matthew Arnold contributed to the climate of racialism current during his lifetime. Frederic Faverty shows that in his essays on national character, Arnold used anthropological concepts of race and language, albeit inconsistently.

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Book SynopsisTrade Review"This is a magnificent contribution to bibliography that will be read enthusiastically by Shakespeare scholars and anyone working in the field of the history of the book, textual editing, and bibliography at the highest level. Zachary Lesser elegantly conveys the implications of his rigorous archival research, and the impression is-quite thrillingly-of a scholar rewriting in significant ways the history of a book that we thought we knew." * Adam Smyth, Balliol College, Oxford University *Table of ContentsContents Acknowledgments Introduction Chapter 1. Ghosts Chapter 2. Holes Chapter 3. Rips and Scrapes Conclusion. Questions Appendix A. Census of Known Sets of the 1619 Quartos Appendix B. Order of Plays in Known Bindings of the 1619 Quartos Appendix C. Copies Consulted Notes Index

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Book SynopsisThis book argues that in the seventeenth century the ancient hope for the physical resurrection of the body and its flesh began an unexpected second life as critical theory, challenging the notion of an autonomous self and driving early modern avant-garde poetry.Table of ContentsPreface: Christianity as Critical Theory | vii Introduction: Secularization and the Resurrection of the Flesh | 1 1. Secularization, Countersecularization, and the Fate of the Flesh in Donne | 29 2. Wanting to Be Another Person: Resurrection and Avant-Garde Poetics in George Herbert | 64 3. Luminous Stuff: The Resurrection of the Flesh in Vaughan’s Religious Verse | 101 4. The Feeling of Being a Body: Resurrection and Habitus in Vaughan’s Medical Writings | 124 5. Resurrection, Dualism, and Legal Personhood: Bodily Presence in Ben Jonson | 148 Epilogue: Resurrection and Zombies | 181 Acknowledgments | 191 Notes | 193 Index | 219

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Book SynopsisTraces how Gothic imagination from the literature and culture of eighteenth- and nineteenth-century Europe and twentieth-century US and European film has impacted Latin American literature and film culture. Serrano argues that the Gothic has provided a way to critique issues including colonization, authoritarianism, feudalism, and patriarchy.

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Book SynopsisThis anthology of German verse in English translation covers a period that includes perhaps two-thirds of the superlative poets of the German language. Here are 147 poems representing 27 poets from Matthias Claudius to Friedrich Nietzsche. The selection is representative, including both the universally known (Goethe, Schiller, Holderlin) and the less familiar (Brentano, Droste-Hulshoff, Holty, Hebbel, Storm). Among the translations are classics by Coleridge, Longfellow, and the Irish poet James Mangan.Table of ContentsForeword: Michael Hamburger Introduction: Robert M. Browning MATTHIAS CLAUDIAS (1740-1814) Der Säemann säet den Samen/The sower is sowing his seed (K. Negus) Abendlied/Evening Song (A. Gode) Die Sternseherin Lise/The Stargazing Maiden (S.Z. Buehne) Kriegslied/A Song of War (A. Bloch) Christiane (J.W. Thomas) Der Tod und das Mädchen/Death and the Girl (J.W. Thomas) Der Tod/Death (R.M. Browning) GOTTFRIED AUGUST BÜRGER (1747-1794) Lenore/Leonore (J.C. Mangan) LUDWIG CHRISTOPH HEINRICH HÖLTY (1748-1776) Auftrag/Mandate (G.C. Schoolfield) Die Schale der Vergessenheit/The Cup of Oblivion (G.C. Schoolfield) An den Abendstern/To the Evening Star (J.W. Thomas) JOHANN WOLFGANG VON GOETHE (1749-1832) Mailied/May Song (J.F. Nims) Willkommen und Abschied/The Meeting, The Departure (J.F. Nims) Im Herbst 1775/Autumn, 1775 (R.M. Browning) Prometheus (M. Hamburger) Mahomets Gesang/A Song to Mahomet (C. Middleton) Auf dem See/On the Lake (J.S. Dwight) An den Mond/To the Moon (J.F. Nims) Grenzen der Menschheit/Human Limits (M. Hamburger) Wandrers Nachtlied/Ein Gleiches/Wanderer's Night-Songs (H.W. Longfellow) Mignon (Kennst du das Land)/Mignon (You know that land) (J.F. Nims) Nur wer die Sehnsucht kennt/Who Yearning Knows (S. Spender) Alles geben die Götter/The Gods Give Everything (S. Spender) Anakreons Grab/Anacreon's Grave (M. Hamburger) Natur und Kunst/Sonnet (M. Hamburger) Gefunden/In a Glade (R. Garnett) Wiederfinden/Reunion (C. Middleton) Proemion (E.A. Bowring) Urworte, Orphisch/Primeval Words, Orphic (M. Knight and J. Fabry) Selige Sehnsucht/Blessed Longing (M. Hamburger) Dauer im Wechsel/Permanence in Change (J.F. Nims) FRIEDRICH SCHILLER (1759-1803) Dithyrambe/The Visit of the Gods (S.T. Coleridge) Des Mädchens Klage/The Maiden's Plaint (J.C. Mangan) Der Ring des Polykrates/Polycrates and His Ring (J.C. Mangan) Das Glück/The Gifts of Fortune (A. Gode) Nänie/Nenia (A. Gode) JOHANN GAUDENZ VON SALIS-SEEWIS (1762-1834)Lied, zu singen bei einer Wasserfahrt/Song to be Sung During a Trip on the Water(G.C. Schoolfield)FRIEDRICH HÖLDERLIN (1770-1843)Hyperions Schicksalslied/Hyperion's Song of Fate(C. Middleton)Abendphantasie/Evening Fantasy(K. Negus)Menschenbeifall/Public Approval(K. Negus)An die jungen Dichter/To Young Poets(K. Negus)An die Parzen/To the Fates(M. Hamburger)Diotima (Du schweigst und duldest/Diotima (You suffer and keep silent)(M. Hamburger)Geh unter, schöne Sonne.../Go down, fair sun...(E. Henderson) Der Abschied. Zweite Fassung/The Farewell. Second Version (C. Middleton) Andenken/Remembrance (C. Middleton) Lebensalter/The Ages of Life (M. Hamburger) Hälfte des Lebens/Half of Life (W. Trask and A. Gode) FRIEDRICH VON HARDENBERG ("NOVALIS") (1772-1801)Hymnen an die Nacht/Hymns to Night (R.M. Browning) LUDWIG TIECK (1773-1853) Liebe/Love (H. Salinger) CLEMENS BRENTANO (1778-1842) Der Spinnerin Lied/The Spinstress' Song (A. Gode) Abendständchen/Serenade (H. Salinger) Wenn ich ein Bettelmann wär/If I were a beggarman (D.B. Dickens) Am Berge hoch in Lüften/Adieu, Heart's Love, Adieu! (R. Garnett) Heil'ge Nacht, heil'ge Nacht/Holy night, holy night! (D.B. Dickens) Nachklänge Beethovenscher Musik/Echoes of Beethoven's Music (G.C. Schoolfield) JOSEPH FREIHERR VON EICHENDORFF (1778-1857) Wünschelrute/Divining Rod (A. Turner) Das zerbrochene Ringlein/The Broken Ring (G.H. Chase) Der Abend/Evening (E. Morgan) Nachts/Nocturne (H. Salinger) Mondnacht/Night of Moon (G.H. Chase) Sehnsucht/Longing (G.H. Chase) Der alte Garten/The Old Garden (W. Heider) Die Nachtblume/Night (I.S. MacInnes) Waldgespräch/Conversation in the Forest (G. Gillhoff) Auf meines Kindes Tod/On the Death of my Child (E. Dvoretzky) Memento mori! (R.M. Browning) Todeslust/Death Wish (R.M. Browning) JUSTINUS KERNER (1786-1862) Der schwere Traum/Oppressive Dream (J. Fitzell) LUDWIG UHLAND (1787-1862) Frühlingsglaube/Spring Faith (J.W. Thomas) Das Schloß am Meer/The Castle by the Sea (H.W. Longfellow) Der gute Kamerad/The Good Comrade (M. Münsterberg and C.T. Brooks) Der Wirtin Töchterlein/The Hostess' Daughter (M. Münsterberg) FRIEDRICH RÜCKERT (1788-1866) Barbarossa (J.W. Thomas) WILHELM MÜLLER (1794-1827) Der Lindenbaum/The Linden Tree (J. Fitzell) Wanderschaft/The Journeyman's Song (F. Owen) AUGUST GRAF VON PLATEN-HALLERMÜNDE (1797-1848) Tristan (H. Salinger) Wie rafft'ich mich auf/Remorse (H.W. Longfellow) Venedig liegt nur noch im Land der Träume/Venice, mere shadow of her elder day (C.T. Brooks) Der Pilgrim vor St. Just/The Pilgrim at St. Yuste (E. Morgan) ANNETTE VON DROSTE-HÜLSHOFF (1797-1848) Der Weiher/The Pond (H. Salinger) Die Mergelgrube/The Marl-pit (J.B. Dallett) Im Grase/In the Grass (U. Prideaux) HEINRICH HEINE (1797-1856) Ein Fichtenbaum steht einsam/A Spruce is standing lonely (M. Knight) Wenn ich an deinem Hause/When I go past your window (H. Draper) Ich wollte, meine Lieder/I wish that all my love-songs (L. Untermeyer) Mir träumte wieder der alte Traum/I dreamt the old, old dream anew (H. Salinger) Die Lotusblume ängstigt/The lotus flower is drooping (H. Draper) Aus alten Märchen winkt es/From olden tales it flings out (H. Draper) Der Asra/The Asra (L. Untermeyer) Helena (E. Lazarus) Gedächtnisfeier/Memorial Day (M. Knight)

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Book SynopsisAdrian Poole is Professor of English Literature at the University of Cambridge, UKand a Fellow of Trinity College, UK. His books include Tragedy: A very short introduction (OUP)and Shakespeare and the Victorians (Arden).

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Book Synopsis

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Book SynopsisA focussed examination of Mary Robinson's deployment of the Gothic in a selection of her poetry and prose fiction. Features accounts of how Robinson's Gothic reworks other major Gothic writers.Table of ContentsA Note on Texts; 1. A Gothic Life; 2. The Un-grounded Grounds of the Walpolean Gothic; 3. The Argument; 4. The Gothic Image of the Other; 5. The Gothic Mind; 6. The Gothic Performance of Gender; 7. The Gothic in Lyrical Tales; 8. Coda; References.

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Book SynopsisShakespeare Survey is a yearbook of Shakespeare studies and production. Since 1948, Survey has published the best international scholarship in English and many of its essays have become classics of Shakespeare criticism. Each volume is devoted to a theme, or play, or group of plays; each also contains a section of reviews of that year''s textual and critical studies and of the year''s major British performances. The theme for Volume 75 is ''Othello''. The complete set of Survey volumes is also available online at https://www.cambridge.org/core/what-we-publish/collections/shakespeare-survey This fully searchable resource enables users to browse by author, essay and volume, search by play, theme and topic and save and bookmark their results.Table of Contents1. Understanding Iago (2009): Clientelism, Corruption, Politics Mark Thornton Burnett; 2. Circumventing marginality: The curious case of India's Othello screen adaptations Abhirup Mascharak; 3. Othello's Kin: Legacy, Belonging, and The fortunes of the Moor Patricia Cahill; 4. 'More fair than black': Othellos on British radio' Andrea Smith; 5. 'This fair paper': Othello and the Artists' book' Agnieszka Żukowska; 6. Othello: A dialogue with the built environment Yik Ling Yong; 7. '[A] maid called barbary:' Othello, Moorish maidservants, and the black presence in early modern England Iman Sheeha; 8. 'The Moor's abused by some most villainous knave, some base notorious knave, some scurvy fellow': Legal spaces, Racial trauma, and Othello' Lisa R. Barksdale-Shaw; 9. Ben Jonson's Sejanus and Shakespeare's Othello: Two Plays Performed by the King's Men in c.1603 John-Mark Philo; 10. 'Lago and the clown: Disassembling the vice in Othello Nicole Sheriko; 11. Pitying desdemona in Folio Othello: Race, Gender, and the willow song Joshua Held; 12. 'Desdemona's honest friend' Jeremy Lopez; 13. 'Suffering scstasy: Othello and the drama of displacement' Jennifer J. Edwards; 14. 'Othello's sympathies: Emotion, Agency, and identification' Richard Meek; 15. 'Warning the Stage: Shakespeare's mid-scene entrance conventions' Margaret Jane Kidnie; 16. 'Looking for perdita in Ali Smith's summer' Bailey Sincox; 17. 'Grafted to the Moor: Anglo-Spanish dynastic marriage and miscegenated whiteness in The winter's tale' Zainab S. Cheema; 18. 'Rhyme, History, and Memory in A Mirror for Magistrates and Henry VI' Molly Clark; 19. 'Bad' Love lyrics and poetic hypocrisy from Gascoigne to Benson's Shakespeare' Katherine Mennis; 20. 'Viola's Telemachy' Robert B. Pierce; 21. 'New analogical evidence for Cymbeline's folkloric composition in the medieval icelandic Ála flekks saga' Jonathan Hui; 22. 'But when extremities speak': Harley Granville-Barker, Coriolanus, the world wars and the state of exception' Richard Ashby; 23. Shakespeare performances in England 2021: London Lois Potter; 24. Shakespeare performances in England 2021: outside London Peter Kirwan; 25. Professional Shakespeare productions in the British Isles, January-December 2020 James Shaw; 26. The Year's contribution to Shakespeare studies: 1. Critical Studies reviewed by Jane Kingsley Smith, 2. Performance reviewed by Russell Jackson, 3. Editions and Textual Studies reviewed by Emma Depledge.

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Book SynopsisTaking as its focus an age of transformational development in cartographic history, namely the two centuries between Columbus's arrival in the New World and the emergence of the Scientific Revolution, this study examines how maps were employed as physical and symbolic objects by thinkers, writers and artists. It surveys how early modern people used the map as an object, whether for enjoyment or political campaigning, colonial invasion or teaching in the classroom. Exploring a wide range of literature, from educational manifestoes to the plays of Marlowe and Shakespeare, it suggests that the early modern map was as diverse and various as the rich culture from which it emerged, and was imbued with a whole range of political, social, literary and personal impulses.Intellectual and Imaginative Cartographies in Early Modern England, 1550-1700 will appeal to all those interested in the History of CartographyTable of ContentsIntroduction: Weaving the Net / Chapter 1: ‘they say the world’s in one of them’: The World of the Map / Chapter 2: ‘Thou by thine arte dost so anatomize’: Embodying the Map in John Speed and Michael Drayton / Chapter 3: Judging the Plot of Ireland in Spenser’s A View of the Present State of Ireland / Chapter 4: ‘There is none so good lernynge’: Cartography and Cartographic Instruments in Early Modern English Educational Treatises / Chapter 5: Francis Bacon and Geographic Science / Chapter 6: Plotting Marlovian Geographies / Chapter 7: Wenceslaus Hollar’s Cartographies / Conclusion: Mapping the Stars. And the Future

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Book SynopsisIt has long been accepted that when Samuel Taylor Coleridge rejected the Unitarianism of his youth and returned to the Church of England, he did so while accepting a general Christian orthodoxy. Christopher Corbin clarifies Coleridge's religious identity and argues that while Coleridge's Christian orthodoxy may have been sui generis, it was closely aligned with moderate Anglican Evangelicalism. Approaching religious identity as a kind of culture that includes distinct forms of language and networks of affiliation in addition to beliefs and practices, this book looks for the distinguishable movements present in Coleridge's Britain to more precisely locate his religious identity than can be done by appeals to traditional denominational divisions. Coleridge's search for unity led him to desire and synthesize the warmth of heart religion (symbolized as Methodism) with the light of rationalism (symbolized as Socinianism), and the evangelicalism in the Church of England, being the Table of ContentsEntry

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Book SynopsisThis book draws attention to the pervasive artistic rivalry between Elizabethan poetry and gardens in order to illustrate the benefits of a trans-media approach to the literary culture of the period. In its blending of textual studies with discussions of specific historical patches of earth, The Poem and the Garden demonstrates how the fashions that drove poetic invention were as likely to be influenced by a popular print convention or a particular garden experience as they were by the formal genres of the classical poets. By moving beyond a strictly verbal approach in its analysis of creative imitation, this volume offers new ways of appreciating the kinds of comparative and competitive methods that shaped early modern poetics. Noting shared patternsboth conceptual and materialin these two areas not only helps explain the persistence of botanical metaphors in sixteenth-century books of poetry but also offers a new perspective on the types of contrastive illusioTable of ContentsIntroduction: Commonplace Concerns 1. "Glory to Garden, Glory to Muses, Glory to Vertue": The Englishing of Mount Parnassus 2. "A pleasaunt plotte of fragrant floures": Biblio-botanical Metaphors as Paratextual Framing Devices 3. To wander "as it were in a Labyrinthe": Spenser’s Garden Critiques on Reading Poetry 4. Of Patterns "more or lesse busie and curious": The Early Modern Knot Garden as a Poetic Device 5. Epilogue: Trans-media Matters

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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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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 SynopsisIn this distinctive study, Nicholas Luke explores the abiding power of Shakespeare''s tragedies by suggesting an innovative new model of his character creation. Rather than treating characters as presupposed beings, Luke shows how they arrive as something more than functional dramatis personae - how they come to life as ''subjects'' - through Shakespeare''s orchestration of transformational dramatic events. Moving beyond dominant critical modes, Luke combines compelling close readings of Romeo and Juliet, Othello, Hamlet, Macbeth, and King Lear with an accessible analysis of thinkers such as Badiou, Žižek, Bergson, Whitehead and Latour, and the ''adventist'' Christian tradition flowing from Saint Paul through Luther to Kierkegard. Representing a significant intervention into the way we encounter Shakespeare''s tragic figures, the book argues for a subjectivity which is not singular or abiding, but perilous and leaping.Trade Review'The book is at its best, its most exciting and enjoyable, when focused on the texts at hand, which Luke makes new. There is a great deal to value here, especially for those who are looking for a philosophical and theoretical consideration of character as exemplified by Shakespearean tragedy. Shakespearean Arrivals is sure to excite debate and to force a reconsideration of character as dynamic and multiple, shifting and changing, and, hence, new.' Cristina León Alfar, Renaissance QuarterlyTable of Contents1. Thinking arrivals: rupture, event, subject; 2. The subject of love in Romeo and Juliet; 3. Love's late arrival: wonder and terror in Othello's 'High-Wrought Flood'; 4. The ghostly event(s) of Hamlet; 5. Macbeth: the arrival of evil; 6. The Cordelia event: seizing the vanished in King Lear; Conclusion; Index.

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Book SynopsisIn this distinctive study, Nicholas Luke explores the abiding power of Shakespeare''s tragedies by suggesting an innovative new model of his character creation. Rather than treating characters as presupposed beings, Luke shows how they arrive as something more than functional dramatis personae - how they come to life as ''subjects'' - through Shakespeare''s orchestration of transformational dramatic events. Moving beyond dominant critical modes, Luke combines compelling close readings of Romeo and Juliet, Othello, Hamlet, Macbeth, and King Lear with an accessible analysis of thinkers such as Badiou, Žižek, Bergson, Whitehead and Latour, and the ''adventist'' Christian tradition flowing from Saint Paul through Luther to Kierkegard. Representing a significant intervention into the way we encounter Shakespeare''s tragic figures, the book argues for a subjectivity which is not singular or abiding, but perilous and leaping.Trade Review'The book is at its best, its most exciting and enjoyable, when focused on the texts at hand, which Luke makes new. There is a great deal to value here, especially for those who are looking for a philosophical and theoretical consideration of character as exemplified by Shakespearean tragedy. Shakespearean Arrivals is sure to excite debate and to force a reconsideration of character as dynamic and multiple, shifting and changing, and, hence, new.' Cristina León Alfar, Renaissance Quarterly'The book is at its best, its most exciting and enjoyable, when focused on the texts at hand, which Luke makes new. There is a great deal to value here, especially for those who are looking for a philosophical and theoretical consideration of character as exemplified by Shakespearean tragedy. Shakespearean Arrivals is sure to excite debate and to force a reconsideration of character as dynamic and multiple, shifting and changing, and, hence, new.' Cristina León Alfar, Renaissance QuarterlyTable of Contents1. Thinking arrivals: rupture, event, subject; 2. The subject of love in Romeo and Juliet; 3. Love's late arrival: wonder and terror in Othello's 'High-Wrought Flood'; 4. The ghostly event(s) of Hamlet; 5. Macbeth: the arrival of evil; 6. The Cordelia event: seizing the vanished in King Lear; Conclusion; Index.

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Book SynopsisTheatre and theatregoing was central to the cultural life of later eighteenth-century Britain. In this engaging work, Jean I. Marsden explores the playhouse as a source of emotion during a period when the ability to feel demonstrated moral worth. Using first-hand accounts, reviews, and illustrations to complement the drama of the era, Marsden examines why both critics and audiences elevated the theatre above the pulpit and how they experienced the plays and performances that they witnessed. Tears and even fainting fits were a common reaction to powerful productions, and playwrights sought to harness this emotion. The book explores this intersection of text, performance, and affect in a series of case studies of plays exploring British liberty, empire and the evils of antisemitism. With a focus on emotional response, Theatres of Feeling delivers a new approach to dramatic literature and performance, one that moves beyond more limited studies of text or performance.Table of ContentsIntroduction; 1. Divine sympathy: theatre, connection, and virtue; 2. Dangerous pleasures: theatregoing in the eighteenth century; 3. Roman fathers and Grecian daughters: tragedy and the nation; 4. Performing the West Indies: comedy, feeling, and British identity; 5. The moral muse: comedy as social engineering; Epilogue.

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Book SynopsisThe first-ever critical anthology of the death arts in Renaissance England, this book draws together over 60 extracts and 20 illustrations to establish and analyse how people grappled with mortality in the 16th and 17th centuries. As well as providing a comprehensive resource of annotated and modernized excerpts, this engaging study includes commentary on authors and overall texts, discussions of how each excerpt is constitutive and expressive of the death arts, and suggestions for further reading. The extended Introduction takes into account death''s intersections with print, gender, sex, and race, surveying the period''s far-reaching preoccupation with, and anticipatory reflection upon, the cessation of life. For researchers, instructors, and students interested in medieval and early modern history and literature, the Reformation, memory studies, book history, and print culture, this indispensable resource provides at once an entry point into the field of early modern death studies aTable of ContentsPart I. Preparatory and dying Arts: I.1. To know well to die (1490); I.2. The Calendar of Shepherds (1518); I.3. The way of dying well (1534); I.4. The Lamentation of a Sinner (1547); I.5. 'A Meditation of a penitent Sinner' (1560); I.6. A Fruitful treatise…against the fear of Death (1564); I.7. A Spiritual Consolation (1578); I.8. The repentance of Robert Greene (1592); I.9. A Salve for a Sick Man (1595); I.10. The Mother's Blessing (1616); I.11. Selected Works (1628, 1635); I.12. 'The unnatural Wife' (1628); I.13. An antidote against purgatory (1634); I.14. Holy dying (1651); I.15. The virgin's pattern (1661); I.16. A Token for Children (1676); I.17. 'A True account of…last dying speeches' (1690); Part II. Funereal and Commemorative Arts: II.1.Chronicles (1548); II.2. 'The Order for the burial of the dead' (1549); II.3. The Primer set forth at large (1559); II.4. Acts and Monuments (1576); II.5. The Glorious Martyrdom of twelve Priests (1582); II.6. The life and death of Sir Philip Sidney (1587); II.7. The French History (1589); II.8. 'Doleful Lay of Clorinda' (1595); II.9. Selected Works (1603, 1604); II.10. 'A Mirror of Modesty' (1621); II.11. 'A Sermon…the 5th of November, 1606' (1629); II.12. The Phoenix of these late times (1637); II.13. Eikon Basilike (1649); II.14. 'An Elegy on the Lady Markham' (1653); II.15. A String of Pearls (1657); II.16. Poems (1669); II.17. 'An Essay upon Death' (1696); Part III. Knowing and Understanding Death: III.1. The despising of the World (1532); III.2. A Preservative against Death (1545); III.3. A Godly Meditation (1548); III.4. A Mirror for Magistrates (1587); III.5. The Haven of Health (1588); III.6. Protection for Woman (1589); III.7. Montaigne's Essays (1603); III.8. The Works of Seneca (1614); III.9. Navmachia (1622); III.10. 'Of Death' (1625); III.11. Mikrokosmographia (1631); III.12. 'A View of the present State of Ireland' (1633); III.13. A View of all Religions in the World (1653); III.14. Natural and Political Observations (1662); III.15. Philosophical Letters (1664); III.16. Lucretius's Six Books (1683); III.17. Principles of the most Ancient and Modern Philosophy (1692); Part IV. Death Arts in Literature: IV.1. The Ship of Fools (1509); IV.2. The Summoning of Everyman (1528); IV.3. The Dance of Death (1554); IV.4. 'Complaint of a Dying Lover' (1557); IV.5. 'A Strange Punishment' (1566); IV.6. 'Gascoigne's Goodnight' (1573); IV.7. 'The Manner of her Will' (1573); IV.8. The Mirror of Princely deeds and Knighthood (1578); IV.9. Selected Works (1594, 1604); IV.10. Selected Works (1606, 1614); IV.11. Salve Deus Rex Judaeorum (1611); IV.12. Selected Works (1611, 1613); IV.13. The Tragedy of Mariam (1613); IV.14. Urania (1621); IV.15. 'The last Will and Testament of Philip Herbert' (1650); IV.16. 'The Nymph complaining for the death of her Fawn' (1681); IV.17. Oroonoko (1688).

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Book SynopsisThe theatre was a crucial forum for the representation of Irish civility and culture for the eighteenth-century English audience. Irish actors and playwrights, operating both as individuals and within networks, were remarkably popular and potent during this period, especially in London. As ideas of Enlightenment percolated throughout Britain and Ireland, Irish theatrical practitioners - actors, managers, playwrights, critics and journalists - exploited a growing receptivity to Irish civility, and advanced a patriot agenda of political and economic autonomy. Mobility, toleration and the capacity to negotiate multiple allegiances are marked features of this Irish theatrical Enlightenment, whose ambitious participants saw little conflict between their twin loyalties to the Crown and to Ireland. This collection of essays responds to recent work in the areas of eighteenth-century theatre studies, Irish studies and Enlightenment studies. The volume''s discussions of genre, colonialism, gendeTrade Review'Ireland, Enlightenment and the English Stage makes a bold and necessary intervention in the field. Its essays shed important new light on the dynamic contribution to English theatrical culture made by a multitude of Irish practitioners and also productively challenge the foundations of what we take 'the Enlightenment' to be in relation to ideas of nation, cosmopolitanism, and cultural production.' David Taylor, University of OxfordBurke's essay … strikes a note that synthesizes the volume. Theater, she writes, becomes a crucial vehicle for the spread of Enlightenment as it enables 'a broadening of horizons [that] did not require a jettisoning of the past'. In this volume, whose essays consistently pair careful historicist research with innovative thought, O'Shaughnessy and his fellow contributors exemplify this achievement for current scholarship as well.' Emily Hodgson Anderson, Review 19'Reconstructing and analysing the world of eighteenth-century theatre moreover demands research that extends beyond literary texts and is attentive to the contexts and the meanings of performance, and the different ways in which both text and performance were mediated and remediated in the period. The essays in this impressive collection not only navigate these challenges, they showcase an impressive sophistication in both the methods and approach employed, and in their nuanced conceptualization of the issues of identity on which the collection is focused ... This superb collection makes an important intervention in a number of different fields and should be considered essential reading for scholars of eighteenth-century Ireland across a range of disciplines, as well as for critics and historians of theatre in the long eighteenth century.' Clíona Ó Gallchoir, Eighteenth-Century Ireland'[an] impressive overview of a missing Irish theater history …' Misty G. Anderson, ECS ReviewTable of ContentsIntroduction: staging an Irish Enlightenment David O'Shaughnessy; Part I. Representations and Resistance: 1. Straddling: London-Irish actresses and their characters Felicity Nussbaum; 2. John Johnstone and the possibilities of Irishness, 1783–1820 Jim Davis; 3. The diminution of 'Irish' Johnstone Oskar Cox Jensen; Part II. Symbiotic Stages: Dublin and London: 4. Midas, Kane O'Hara and the Italians: an interplay of comedy between London and Dublin Michael Burden; 5. Trading loyalties: Richard Brinsley Sheridan, The School for Scandal and the Irish propositions Robert W. Jones; 6. Sydney Owenson, Alicia Sheridan Le Fanu and the domestic stage of post-inion politics Colleen Taylor; Part III. Enlightened Perspectives: 7. Civility, patriotism and performance: Cato and the Irish history play David O'Shaughnessy; 8. From Ireland to Peru: Arthur Murphy's (anti)-imperial dramaturgy Bridget Orr; 9. The provincial commencement of James Field Stanfield Declan Mccormack; 10. Worlding the village: John O'Keeffe's 'Excentric' pastorals Helen Burke.

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Book SynopsisFor readers interested in exploring the history ofemotional responses to suffering, this volume describes the theory and practice of compassion in the context of early modern Europe's sectarian strife, and will engage those looking to make connections between early modern history and our present political moment.Trade Review'… a convincing alternative to rigorous compassion scepticism …' James Waddell, Modern Language Review'Its commendable coherence is determined by both the central theme and the well-thought-through structure, which supports the topic's conceptualization … the volume is a valuable contribution on a timely topic …' Mirosława Hanusiewicz-Lavallee, Journal of Jesuit StudiesTable of ContentsIntroduction Kristine Steenbergh and Katherine Ibbett; Part I. Theorizing: 1. The ethics of compassion in early modern England Bruce R. Smith; 2. The compassionate self of the Catholic Reformation Katherine Ibbett; Part II. Consoling: 3. 'Hee left them not comfortlesse by the way': grief and compassion in early modern English consolatory culture Paula Barros; 4. Friendship, counsel, and compassion in early modern medical thought Stephen Pender; Part III. Exhorting: 5. 'Compassion and mercie draw teares from the godlyfull often': the rhetoric of sympathy in the early modern sermon Richard Meek; 6. Mollified hearts and enlarged bowels: practising compassion in reformation England Kristine Steenbergh; Part IV. Performing: 7. Civic liberties and community compassion: the Jesuit drama of Poland-Lithuania Clarinda E. Calma and Jolanta Rzegocka; 8. Compassion, contingency and conversion in James Shirley's The Sisters Alison Searle; Part V. Responding: 9. Mountainish inhumanity in Illyria: compassion in Twelfth Night as social luxury and political duty Elisabetta Tarantino; 10. Standing on a beach: Shakespeare and the sympathetic imagination Eric Langley; Part VI. Giving: 11. 'To feel what wretches feel': Reformation and the re-naming of English compassion Toria Johnson; 12. Alms petitions and compassion in sixteenth-century London Rebecca Tomlin; Part VII. Racializing: 13. Pity and empire in the Brevísima relación de la destrucción de las Indias (1552) Matthew Goldmark; 14. 'Our Black hero': compassion for friends and others in Aphra Behn's Oroonoko John Staines; Part VIII. Contemporary Compassions: 15. Contemporary compassions: interrelating in the Anthropocene Kristine Steenbergh.

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Book SynopsisStudents, scholars, and general readers alike will find the New Cambridge Companion to Samuel Johnson deeply informed and appealingly written. Each newly commissioned chapter explores aspects of Johnson''s writing and thought, including his ethical grasp of life, his views of language, the roots of his ideas in Renaissance humanism, and his skeptical-humane style. Among the themes engaged are history, disability, gender, politics, race, slavery, Johnson''s representation in art, and the significance of the Yale Edition. Works discussed include Johnson''s poetry and fiction, his moral essays and political tracts, his Shakespeare edition and Dictionary, and his critical, biographical, and travel writing. A narrated Further Reading provides an informative guide to the study of Johnson, and a substantial Introduction highlights how his literary practice, philosophical values, and life experience provide a challenge to readers new and established. Through fresh, integrated insights, this auTable of ContentsIntroduction: contemporary Johnson Greg Clingham; 1. Johnson, ethics, and living Min Wild; 2. Johnson and the essay Philip Smallwood; 3. Johnson and Renaissance humanism Anthony W. Lee; 4. Johnson and language Lynda Mugglestone; 5. Johnson and British historiography Martine W. Brownley; 6. Johnson and fiction Freya Johnston; 7. Johnson and gender Samara Anne Cahill; 8. Johnson, race, and slavery Nicholas Hudson; 9. Johnson's politics Clement Hawes; 10. Johnson's poetry John Richetti; 11. Johnson's editions of Shakespeare Tom Mason; 12. Johnson's Lives of the Poets: a guided tour Fred Parker; 13. Johnson as biographer Leo Damrosch; 14. Johnson and travel Anne M. Thell; 15. Johnson and disability Paul Kelleher; 16. Representing Johnson in life and after Heather McPherson; 17. Johnson among the scholars Robert De Maria, Jr.

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Book SynopsisShakespeare has been dubbed the greatest psychologist of all time. This book seeks to prove that statement by comparing the playwright''s fictional characters with real-life examples of violent individuals, from criminals to political actors. For Gilligan and Richards, the propensity to kill others, even (or especially) when it results in the killer''s own death, is the most serious threat to the continued survival of humanity. In this volume, the authors show how humiliated men, with their desire for retribution and revenge, apocryphal violence and political religions, justify and commit violence, and how love and restorative justice can prevent violence. Although our destructive power is far greater than anything that existed in his day, Shakespeare has much to teach us about the psychological and cultural roots of all violence. In this book the authors tell what Shakespeare shows, through the stories of his characters: what causes violence and what prevents it.Trade Review'Whoever would have thought that William Shakespeare could help us prevent murder in the twenty-first century? In this extraordinary book, James Gilligan and David Richards shepherd their readers through a riveting and brilliantly written journey, explaining how the Bard of Stratford-upon-Avon can offer unique insights into the origins of violence. I simply could not put this down!' Estela V. Welldon, Fellow of the Royal College of Psychiatrists, Honorary Member, American Psychoanalytic Association, UK'Were I able to persuade my political colleagues to imbibe the wisdom of one book, this is it. What Girard did with the novel, Gilligan and Richards do for Shakespeare, making him accessible and essential for understanding and responding to personal and political violence. It is both brilliant and transformational.' Lord John Alderdice, House of Lords, Westminster, UK'James Gilligan and David Richards, an eminent psychiatrist and a distinguished legal scholar with vast experience dealing with violent men, brilliantly help us explore how Shakespeare's plays are among the most insightful sources for understanding human nature and human psychology. In the course of their work, they met men who were virtual reincarnations of Macbeth, Othello, Richard III, Timon and others, who felt so overwhelmingly shamed and humiliated that they did not know how to bring their emotional pain to an end except by destroying the world around them. Shame and its opposite, pride and honor, are the central themes Shakespeare uses to describe the motivations for violence. Gilligan and Richards show how Shakespeare enables us to understand not only what causes violence, but also how we can prevent it.' Bessel van der Kolk, author of The Body Keeps the Score, founder of the Trauma Research Foundation, and Professor of Psychiatry, Boston University'The depth of Jim Gilligan's knowledge of the murderous mind and his understanding of shame as a motivating force are matched only by Shakespeare's poetic insights about what drives Hamlet, Macbeth, Othello and others. Psychoanalysis and great creative writing join in Holding a Mirror up to Nature and give unique insights to the problems of violence in our modern age. Gilligan's work – together with the rational voice of law scholar David Richards – offer to the practitioner of Shakespeare's theater a road map to understand the great tragic heroes. It is an exhilarating mix of scholarship and dramatic knowledge, which can only deepen our appreciation of the power and truth of the plays of William Shakespeare.' Tina Packer, Founding Artistic Director, Shakespeare & CompanyTable of ContentsIntroduction: can we learn from Shakespeare about the causes and prevention of violence?; 1. Shame and guilt in personality and culture; 2. The cycle of violence in history plays; 3. Fathers and mothers: the perversion of love in King Lear and Coriolanus; 4. Make war, not love: Anthony and Cleopatra; 5. The motives and malignity: shame and masculinity in Othello and Macbeth; 6. Moral nihilism and the paralysis of action: Hamlet and Troilus and Cressida; 7. Apocalyptic vioence: Timon of Athens; 8. Transcending morality, preventing violence: Measure for Measure, The Tempest, The Winter's Tale, and The Merchant of Venice; 9. The form and pressure of Shakespeare's time – and ours: what Shakespeare shows us about shame, guilt, love and violence; Acknowledgments.

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