Literary studies: plays and playwrights Books
Boydell & Brewer Ltd Heinrich von Kleist: Literary and Philosophical
Book SynopsisWINNER of the 2023 CHOICE Outstanding Academic Title Award Volume of new essays investigating Kleist's influences and sources both literary and philosophical, their role as paradigms, and the ways in which he responded to and often shattered them. Heinrich von Kleist (1777-1811) was a rebel who upset canonization by employing his predecessors and contemporaries as what Steven Howe calls "inspirational foils." It was precisely a keen awareness of literary and philosophical traditions that allowed Kleist to shatter prevailing paradigms. Though little is known about what specifically Kleist read, the frequent allusions in his enduringly modern oeuvre indicate fruitful dialogues with both canonical and marginal works of European literature, spanning antiquity (The Old Testament, Sophocles), the Early Modern Period (Shakespeare, De Zayas), the late Enlightenment (Wieland, Goethe, Schiller), and the first eleven years of the nineteenth century (Mereau, Brentano, Collin). Kleist's works also evidence encounters with his philosophical precursors and contemporaries, including the ancient Greeks (Aristotle) and representatives of all phases of Enlightenment thought (Montesquieu, Rousseau, Ferguson, Spalding, Fichte, Kant, Hegel), economic theories (Smith, Kraus), and developments in anthropology, sociology, and law. This volume of new essays sheds light on Kleist's relationship to his literary and philosophical influences and on their function as paradigms to which his writings respond.Trade ReviewSurprising, original, and eminently readable, this is an outstanding addition to serious scholarship about an author whose work is increasingly significant for contemporary readers. Highly recommended. * CHOICE MAGAZINE *Table of ContentsForeword: A Note on Kleist in American Art, Film, and Literature - Paul Michael Lützeler Acknowledgments Introduction: Kleist's Literary and Philosophical Paradigms = Jeffrey L. High, Rebecca Stewart, and Elaine Chen Part I. Kleist's Literary Paradigms In the Beginning: Kleist, Genesis, Kafka, and the Pursuit of Epistemological Salvation - Gail K. Hart Just Violence? War, Law, and Politics in Kleist's Die Herrmannsschlacht and Shakespeare's Henry V - Steven Howe The Mereau-Brentano Translations of María de Zayas's "Spanish Novellas" and Kleist's Prose Works - Jeffrey L. High and Lisa Beesley The Old and the New: Christoph Martin Wieland and Kleist on Parteigeist - John A. McCarthy Receptions, Homages, and Anti-Occupational Allegories of Autonomy: The Case of Schiller's Bohemian Cup and Kleist's Broken Jug - Jeffrey L. High and Elaine Chen Anti-Napoleonic Rage and the Hope for a Better Future: Collin between Schiller and Kleist - Rebecca Stewart Part II: Kleist's Philosophical Paradigms Fiat claritas et pereat opus: Equity and the Limits of Rectification in Kleist's Michael Kohlhaas - John T. Hamilton Kleist, Johann Joachim Spalding and the Bestimmung des Menschen: Philosophy as a Way of Life? - Laura Anna Macor War Games: Kleist, Adam Ferguson, and the Cultural Poetics of Play - Christian Moser Economic Concepts and Authorial Self-Design in Heinrich von Kleist's Letters - Johannes Endres Gender and the Politics of Recognition in Johann Gottlieb Fichte's Foundations of Natural Right and Kleist's Amphitryon - Bernd Fischer Kleist and Haiti - With and Beyond Hegel - Katrin Pahl Notes on the Contributors Index
£99.00
Boydell & Brewer Ltd Renaissance Papers 2020
Book SynopsisCollection of the best scholarly essays from the 2020 Southeastern Renaissance Conference plus essays submitted directly to the journal. Topics run from the epic to influence studies to the perennial problem of love and beyond. Renaissance Papers 2020 features essays from the conference held virtually at Mercer University, as well as essays submitted directly to the journal. The volume opens with an essay that discusses the "ultimate story," the epic, and argues, pointing to the Henriad and The Faerie Queen, that some of the most ambitious remain unfinished; an essay on "just war" and Henry V follows, suggesting why such epic inconclusion may not be such a bad thing. A trio of influence studies investigate post-Marian virginity, Miltonic environmentalism, and cross-dressing knights. Three essays then interrogate the perennial problem of love: in popular ballads, in Hero and Leander, and in The Rape of Lucrece. An essay argues counterintuitively for Amelia Lanyer and Margaret Cavendish as exemplars of the Cavalier Ideal of the Bonum Vitae; it is followed by an equally provocative reconsideration of the role of Claudio D'Arezzo's rhetorical works for Sicilian national identity. The last essay analyzes the formal signatures of three sixteenth-century queens and how they sought to represent themselves on the public stage.Table of ContentsPost-Marian Piety in Edmund Spenser's Faerie Queene: The Case of Belphoebe Jesse Russell Confessions and Obfuscations: Just War and Henry V Nathan P. Gilmour "Unfinished Epics: Spenser's Faerie Queene, Shakespeare's Henriad, and the Mystic Plenum" Robert Lanier Reid Translating and Fragmenting Nature in The Divine Weeks Kevin Chovanec "The beautifullest Creature living": Cross-dressing Knights in Mary Wroth's Urania and Margaret Tyler's Mirror of Princely Deeds Rachel M. De Smith Roberts "T'was I that Murdered thee": Heartbreak, Murder, and Justice in Early Modern Haunted Lovers' Ballads Savannah Jensen "Love at First Sight": The Narrator's Perspective in Marlowe's Hero and Leander John N. Wall Recentering the Forest in Early Modern England Nicholas Ciavarra "The house received all ornaments to grace it:" Cavendish, Lanyer, and the Cavalier Ideal of Bonum Vitae Margaret C. Sanders A Gentleman of Syracuse: Claudio Mario D'Arezzo and Sicilian Nationalism in the Early Modern Mediterranean Anne Maltempi Make Your Mark: Signatures of Queens Regnant in England and Scotland during the 16th Century Heather R. Darsie
£61.75
Boydell & Brewer Ltd Renaissance Papers 2021
Book SynopsisEssays on a wide range of topics including the role of early modern chess in upholding Aristotelian virtue; readings of Sidney, Wroth, Spenser, and Shakespeare; and several topics involving the New World. Renaissance Papers collects the best scholarly essays submitted each year to the Southeastern Renaissance Conference. The present volume opens with an essay on early modern chess, arguing that it covertly upheld an Aristotelian concept of virtue against the destabilizing ethical views of writers such as Machiavelli. This provocative opening is followed by iconoclastic discussions of Sidney's Astrophil and Stella, Wroth's Urania, and Spenser's Fairie Queen. The next essay investigates the mystery surrounding editorship of the 1571 printing of The Mirror for Magistrates. The essays then pivot into the exotic world of Hermetic "statue magic" in Shakespeare's Winter's Tale and the even more exotic worlds of alchemy, Aztec war gods, and conversion in sixteenth-century Mexico. Two further essays remain in the New World, the first examining the representational connections between the twelve Caesars and the twelve Inca kings, the second taking stock of Thomas Harriot's contribution to the understanding of Amerindian languages. The penultimate essay looks at Holbein's depiction of Henry VIII's ailing body, and the volume concludes with a complex analysis of guilt and shame in Molière's L'École des Femmes. Contributors: Jean Marie Christensen, William Coulter, Christopher Crosbie, Shepherd Aaron Ellis, Scott Lucas, Fernando Martinez-Periset, Timothy Pyles, Rachel Roberts, Jesse Russell, Janet Stephens, Weiao Xing. The journal is edited by Jim Pearce of North Carolina Central University and Ward Risvold of Georgia College and State University.Table of Contents"Strange Serious Wantoning:": Early Modern Chess Manuals and the Ethics of Virtuous Subterfuge Christopher Crosbie "Both Use and Art:" Motifs and Method in Astrophil and Stella William A. Coulter Embodied Love(rs): Injury and Comedy in Mary Wroth's Urania Rachel M. De Smith Roberts Edmund Spenser's Automaton Alchemy: The Case of False Florimell Jesse Russell Who Edited the 1571 Mirror for Magistrates? Scott C. Lucas Statues Living and Conscious: Hermetic Statue-Magic in The Winter's Tale Timothy Pyles Transmutation and Refinement: The Metaphysics of Conversion and Alchemy in Renaissance Spain Shepherd Aaron Ellis The Twelve Inka and the Twelve Caesars: Reflections on an Early Modern Visual Theme in the Art of Colonial Peru Janet G. Stephens Linguistics and Epistemology in Thomas Harriot's North Atlantic World Weiao Xing Assembling the King's Body: Examining Holbein's Portrait Techniques and the Fashioning of Henry VIII's Image in the English Renaissance Jean Marie Christensen Molière's L'École des Femmes between Shame and Guilt Fernando Martinez-Periset
£66.50
Boydell & Brewer Ltd The Brecht Yearbook / Das Brecht-Jahrbuch 48
Book SynopsisBrecht Yearbook 48 features a section on Brecht's and Heiner Müller's engagement with modern living, a group of essays on "Brecht Post-2020," and additional new Brecht research on various topics. The Brecht Yearbook, published on behalf of the International Brecht Society, is the central scholarly forum for the study of Brecht's life and work and of topics relevant to him. Volume 48 opens with an article on the research that informed the 2022 exhibition Brecht's Paper War. The next section examines Brecht's and Heiner Müller's engagement with modern living: from the housing question in the 1920s to the dramaturgical function of furniture to dialectical stage-auditorium configurations in the early GDR. The following section on "Brecht Post-2020" explores dramaturgical approaches to the learning play under pandemic conditions as well as the "spectrological" aspects of Drums in the Night. Additional new research includes essays on the critical edition of Brecht's notebooks, his reception in fascist Italy, the ambivalence of the heroic in his work, the prioritization of political parable over avant-garde aesthetics in Round Heads and Pointed Heads, boxing as inspiration for epic theater, Hegelian aspects of Refugee Conversations and The Measures Taken, and the working alliance of Brecht and Kurt Weill. Edited by Markus Wessendorf. Contributors: Fanti Baum, Luke Beller, Manuel Clancett, Daniel Cuonz, Fritz Hennenberg, Matthew Hines, Alba Knijff, Sophie König, Grischa Meyer, Marie Millutat, Zafiris Nikitas, Cornelia Ortlieb, Matthias Rothe, Kumars Salehi, Francesco Sani, Stephan Strunz, Lara Tarbuk, Raffaella Di Tizio, Julia Weber, Marten Weise, Noah Willumsen, Claus Zittel.Table of ContentsEditorial List of Abbreviations Research for an Exhibition Grischa Meyer (Berlin) Bertolt Brecht's Paper War - Reading Newspapers during Wartime Working with Brecht and Müller: "Dwelling in the Empty Center" Noah Willumsen (Berlin), Sophie König (Berlin), and Marten Weise (Frankfurt am Main) introduction: Leben im Falschen: Wohnen bei Brecht und Müller Stephan Strunz (Dresden) Wider die Deskription: Brecht und der Diskurs des Wohnungselends Lara Tarbuk (Berlin) "Man muss versuchen, sich einzurichten in Deutschland!": Zur Bedeutung der Möbel in Trommeln in der Nacht und Die Hochzeit Marie Millutat (Berlin) Einrichten und Einkleben: Brechts Collagewerkstatt im Exil Cornelia Ortlieb (Berlin) interlude i: Wohnen im Schreiben oder Kein Schreibtisch nirgends Julia Weber (Berlin) interlude ii: "Wohnen in der leeren Mitte": Zu einem Topos aus Heiner Müllers Medeamaterial Luke Beller (Baltimore) "I Can Go Hungry Everywhere": Brecht, Mr. Keuner, and Cosmopolitanism Matthew Hines (Cambridge, UK) Models of Socialist Drama in the Early GDR: The Dialectical Audience and the Spatial Metaphor in The Correction by Inge and Heiner Müller Fanti Baum (Frankfurt am Main) literary essay: Das Einnehmen der Mitte für ihre Freiräumung-eine Wohnfibel gegen das bürgerliche Leben Brecht Post-2020: Part 2-Pandemic Learning Plays and the Logic of the Specter Francesco Sani (Leicester) The Lehrstück as a Digital Space for Dialectics: Robinson Crusoe on His Deserted Island (2021) Zafiris Nikitas (Thessaloniki) Brechtian Future(s): Life of Galileo as a Pandemic Lehrstück Alba Knijff (Barcelona) Structural Undecidability and the Logic of the Specter in Bertolt Brecht's Drums in the Night New Brecht Research Claus Zittel (Stuttgart) Im Dickicht der Texte: Brechts Nachlass im Lichte der neuen kritischen Edition seiner Notizbücher Raffaella Di Tizio (Rome) Brecht's Reception in Italy at the Time of Fascism Daniel Cuonz (St. Gallen) Unglücklich der Held, dessen Land ihn nötig hat: Zur Ambivalenz des Heroischen bei Bertolt Brecht und zu ihrer Aktualität Matthias Rothe (Minneapolis) Round Heads and Pointed Heads and the End of Avantgarde Manuel Clancett (Lüneburg) Feine Raufereien. Brecht und die Evidenz des Boxens Kumars Salehi (Canton, NY) Too Dialectical by Half: Brecht as a Reader of Hegel Fritz Hennenberg (Leipzig) Hier Brecht-dort Weill: Bedeutung und Deutung eines Arbeitsbunds Book Reviews Patrick Eiden-Offe (Berlin) Georg Lukács. Texte zum Theater. Hrsg. von Jakob Hayner und Erik Zielke Anja Hartl (Innsbruck) Susanne Schmieden. Paradoxa über Politik und Theater: Zur Bedeutung der Gegenmeinung bei Denis Diderot und Bertolt Brecht Fadi Skeiker (Philadelphia) Sonja Mejcher-Atassi and Robert Myers (eds.). The Theatre of Sa'dallah Wannous: A Critical Study of the Syrian Playwright and Public Intellectual Joseph Prestwich (Cambridge, UK) Anja Hartl. Brecht and Post-1990s British Drama: Dialectical Theatre Today Ramona Mosse (Zurich) Martin Revermann. Brecht and Tragedy: Radicalism, Traditionalism, Eristics Notes on the Contributors
£61.75
Arc Humanities Press The Battle of the Bard: Shakespeare on US Radio
Book Synopsis
£74.79
Arc Humanities Press Jewish Theatre Making in Mantua, 1520–1650
Book Synopsis
£108.58
H.W. Wilson Publishing Co. Critical Insights: Othello
Book SynopsisOthello has long been considered (along with Hamlet, King Lear, and Macbeth) one of Shakespeare's four greatest works of tragedy. Recently, however, Othello has taken on a special interest, partly because it deals so intriguingly with such issues as gender, race, and class --issues particularly engaging to so many readers, critics, and playgoers. This volume explores Othello from numerous points of view, paying special attention to such matters as history, aesthetics, and various important productions, especially on film.
£83.20
University of South Carolina Press Understanding Tracy Letts
Book SynopsisWinner of the Pulitzer Prize in drama as well as Tony Awards for best play and best actor, Tracy Letts has emerged as one of the greatest playwrights of the twenty-first century.Understanding Tracy Letts, the first book dedicated to his writing, is an introduction to his plays and an invitation to engage more deeply with his work--both for its emotional power and cultural commentary.Experiencing a Tracy Letts play often feels akin to reading a Cormac McCarthy novel, watching a Cohen Brothers film, and seeing an episode of Breaking Bad at the same time. His characters can be ruthlessly cruel and funny, selfish and generous, delusional and incisive, and deceptive and painfully honest. They keep secrets. They harbor biases and misconceptions. And in their quest to find love and understanding, they often end up being the greatest impediments to their own happiness. As a writer, Letts can move seamlessly from the milieu of a Texas trailer park to the pulsating nightlife of London's countercultural scene, the stifling quiet of small-town Ohio to the racial tensions of urban Chicago. He thrives in the one-act format, in plays like Mary Page Marlow and The Minutes, as well as the epic scope of August: Osage County and Linda Vista. With a musician's sense of timing, Letts shifts between humor and heartache, silence and sound, and the mundane and the poetic. And he fearlessly tackles issues such as gender bias, racism, homophobia, and disability rights. Contemporary American life thus becomes a way to comment on the country's troubled history from Native American genocide to the civil rights movement. The personal narratives of his characters become gateways to the political.Understanding Tracy Letts celebrates the range of Letts's writing, in part, by applying different critical approaches to his works. Whether through the lens of disability studies, the conspiracy genre, food studies, the feminist politics of quilting, or masculinity studies, these readings help bring out the thematic richness and sociopolitical dimensions of Letts's work.Trade ReviewUnderstanding Tracy Letts not only delves into crucial biographical details instrumental to Letts' development as a playwright but also engagingly places his works in dialogue with Tennessee Williams and William Faulkner, The X-Files, food theory, quilting, and masculine studies. Fahy's book is a long needed holistic look at one of America's most important playwrights." -- William Boles, Rollins College
£21.08
University of South Carolina Press Understanding Sam Shepard: With a New Preface
Book SynopsisAn ideal introduction into the complex and compelling dramas of the acclaimed playwright Now available in a paperback edition and featuring a new preface, Understanding Sam Shepard investigates the notoriously complex dramatic world of Sam Shepard, one of America's most prolific, thoughtful, and challenging contemporary playwrights. During his nearly fifty-year career as a writer, actor, director, and producer, Shepard (1943-2017) consistently focused his work on the ever-changing American cultural landscape. James A. Crank's thorough study offers scholars and students of the dramatist a means of understanding Shephard's frequent experimentation with language, setting, character, and theme. The new preface examines Shepard's legacy and his final work of fiction, Spy of the First Person.
£17.06
University of South Carolina Press Understanding David Mamet: With a New Preface
Book SynopsisA new preface covers Mamet's most recent plays and nonfiction writingUnderstanding David Mamet analyzes the broad range of David Mamet's plays and places them in the context of his career as a prolific writer of fiction and nonfiction prose, as well as drama. In addition to playwriting and directing for the theater, Mamet also writes, directs, and produces for film and television, and he writes essays, fiction, poetry, and even children's books. Author Brenda Murphy centers her discussion around Mamet's most significant plays—Glengarry Glen Ross, Oleanna, American Buffalo, Speed-the-Plow, The Cryptogram, Sexual Perversity in Chicago, Edmond, The Woods, Lakeboat, Boston Marriage, and The Duck Variations—as well as his three novels—The Village, The Old Religion, and Wilson. Murphy also notes how Mamet's one-act and less known plays provide important context for the major plays and help to give a fuller sense of the scope of his art. In her new preface, Murphy provides an overview of Mamet's plays, fiction, and essays in the 2010s and the continued move to the right in his political and cultural thinking.
£17.06
University of Delaware Press Arras Hanging: The Textile That Determined Early
Book SynopsisTextiles have long provided metaphors for storytelling: a compelling novel “weaves a tapestry” and we enjoy hearing someone “spin” a tale. To what extent, however, should we take these metaphors seriously? Arras Hanging: The Textile That Determined Early Modern Literature and Drama reveals that in the early modern period, when cloth-making was ubiquitous and high-quality tapestries called arras hangings were the most valuable objects in England, such metaphors were literal. The arras in particular provided a narrative model for writers such as Edmund Spenser and William Shakespeare, who exploited their audience’s familiarity with weaving to engage them in highly idiosyncratic and “hands on” ways. Specifically, undescribed or “blank” tapestries in the period’s fiction presented audiences with opportunities to “see” whatever they desired, and thus weave themselves into the story. Far more than background objects, literary and dramatic arras hangings have much to teach us about the intersections between texts and textiles at the dawn of print, and, more broadly, about the status of visual art in post-Reformation England. Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
£35.70
University of Delaware Press English Theatrical Anecdotes, 1660-1800
Book SynopsisThe essays in English Theatrical Anecdotes, 1660-1800 explore the theatrical anecdote’s role in the construction of stage fame in England’s emergent celebrity culture during the long eighteenth century, as well as the challenges of employing such anecdotes in theatre scholarship today. This collection showcases scholarship that complicates the theatrical anecdote and shows its many sides and applications beyond the expected comic punch. Discussing anecdotal narratives about theatre people as producing, maintaining, and sometimes toppling individual fame, this book crucially investigates a key mechanism of celebrity in the long eighteenth century that reaches into the nineteenth century and beyond. The anecdote erases boundaries between public and private and fictionalizing the individual in ways deeply familiar to twenty-first century celebrity culture.Table of ContentsAcknowledgmentsIntroduction: Miniature Stages of Celebrity: English Theatrical Anecdotes, 1600–1800Heather Ladd and Leslie RitchiePART IACTING BADLY: MISBEHAVING PERFORMERS1 Killing Delane; or, Mimickry and the Anecdota obscuraLeslie Ritchie2 Violent Afterlives: The Anecdote in Eighteenth-Century Theater BiographiesMáire Macneill3 Samuel Foote, Esq.: Caricature, Class, and the Comic Theatrical AnecdoteHeather LaddPART IIANECDOTAL BODIES4 Pregnancy and the Late Stuart Stage, 1661–1702Chelsea Phillips5 “A High Treat to the Anecdote Hunters!”: The Body of Mrs. Sophia BaddeleyNevena Martinocvić6 A Bellyful of Nightingales: Seven Stories of Seven SingersMichael BurdenPART IIIACTING CAREERS AND THE PROFESSIONAL ANECDOTE7 Anecdote and the Regional Actress: A History of the Farren Family in Several AnecdotesFiona Ritchie8 Neither Confirmed nor Refuted: The Anecdotal Elizabeth BarrySeth WilsonPART IVANECDOTES’ AFTERLIVES: SCHOLARLY ENCOUNTERS9 Anecdotal Origin Stories: Mary Ann Yates’s Trip to Drury LaneElaine Mcgirr10 The Vanishing Subject in “Anecdotal” Abridgments of Theatrical BiographiesAmanda Weldy Boyd11 Queering Roxane from Davenant to RichardsonDanielle BobkerCoda: Whither Theatrical Anecdote?Heather Ladd and Leslie RitchieBibliographyNotes on ContributorsIndex
£31.50
University of Delaware Press English Theatrical Anecdotes, 1660-1800
Book SynopsisThe essays in English Theatrical Anecdotes, 1660-1800 explore the theatrical anecdote’s role in the construction of stage fame in England’s emergent celebrity culture during the long eighteenth century, as well as the challenges of employing such anecdotes in theatre scholarship today. This collection showcases scholarship that complicates the theatrical anecdote and shows its many sides and applications beyond the expected comic punch. Discussing anecdotal narratives about theatre people as producing, maintaining, and sometimes toppling individual fame, this book crucially investigates a key mechanism of celebrity in the long eighteenth century that reaches into the nineteenth century and beyond. The anecdote erases boundaries between public and private and fictionalizing the individual in ways deeply familiar to twenty-first century celebrity culture.Table of ContentsAcknowledgmentsIntroduction: Miniature Stages of Celebrity: English Theatrical Anecdotes, 1600–1800Heather Ladd and Leslie RitchiePART IACTING BADLY: MISBEHAVING PERFORMERS1 Killing Delane; or, Mimickry and the Anecdota obscuraLeslie Ritchie2 Violent Afterlives: The Anecdote in Eighteenth-Century Theater BiographiesMáire Macneill3 Samuel Foote, Esq.: Caricature, Class, and the Comic Theatrical AnecdoteHeather LaddPART IIANECDOTAL BODIES4 Pregnancy and the Late Stuart Stage, 1661–1702Chelsea Phillips5 “A High Treat to the Anecdote Hunters!”: The Body of Mrs. Sophia BaddeleyNevena Martinocvić6 A Bellyful of Nightingales: Seven Stories of Seven SingersMichael BurdenPART IIIACTING CAREERS AND THE PROFESSIONAL ANECDOTE7 Anecdote and the Regional Actress: A History of the Farren Family in Several AnecdotesFiona Ritchie8 Neither Confirmed nor Refuted: The Anecdotal Elizabeth BarrySeth WilsonPART IVANECDOTES’ AFTERLIVES: SCHOLARLY ENCOUNTERS9 Anecdotal Origin Stories: Mary Ann Yates’s Trip to Drury LaneElaine Mcgirr10 The Vanishing Subject in “Anecdotal” Abridgments of Theatrical BiographiesAmanda Weldy Boyd11 Queering Roxane from Davenant to RichardsonDanielle BobkerCoda: Whither Theatrical Anecdote?Heather Ladd and Leslie RitchieBibliographyNotes on ContributorsIndex
£107.20
Academic Studies Press Breaking Free from Death: The Art of Being a
Book SynopsisBreaking Free from Death examines how Russian writers respond to the burden of living with anxieties about their creative outputs, and, ultimately, about their own inevitable finitude. What contributes to creative death are not just crippling diseases that make man defenseless in the face of death, and not just the arguably universal fear of death but, equally important, the innumerable impositions on the part of various outsiders. Many conflicts in the lives of Rylkova's subjects arose not from their opposition to the existing political regimes but from their interactions with like-minded and supporting intellectuals, friends, and relatives. The book describes the lives and choices that concrete individuals and—by extrapolation—their literary characters must face in order to preserve their singularity and integrity while attempting to achieve fame, greatness, and success.Trade Review"Rylkova’s meticulous study is full of original insights and new interpretations of famous literary works, delivered in a lucid and accessible writing style, with numerous references to primary sources; it is a joy to read. Furthermore, she supplies her readers with a clear road map throughout the book, explaining her next steps and intentions at every turn." - Russian ReviewTable of Contents Acknowledgements Prologue: Breaking Free from Death Part One: Beginnings and Endings 1. Leo Tolstoy and the Privilege of Formidable Hypochondria 2. In Chertkov's Grip 3. Uncle Vanya: The Drama of Sustainability 4. "Homo Sachaliensis": Chekhov's "Character" as a Strategy 5. The Steppe as a Story of Humble and Spectacular Beginnings Part Two: Transcending Death 6. Reading Chekhov through Meyerhold's Eyes 7. Living with Tolstoy and Dying with Chekhov: Ivan Bunin's Liberation of Tolstoy (1937) and About Chekhov (1953) as Two Modes of Auto/Biographical Writing 8. "There is a way out": The Cherry Orchard in the Twenty-First Century 9. A Boring Story: Chekhov's Trip to Germany in 1904 Epilogue: Oyster Fever: Chekhov and Turgenev Index
£18.69
Iter Press The Faithful Virgins: Volume 104
Book SynopsisThe first-ever print edition of a play by one of the first women playwrights in England. E. Polwhele (c. 1651-c. 1691) was one of the first women to write for the stage in Restoration London. This book presents the first printed edition of Polwhele’s first play, The Faithful Virgins, which until now has existed only in an unsigned manuscript in the Bodleian Library at Oxford University. A tragicomedy apparently performed in London by the Duke's Company ca. 1669–1671, The Faithful Virgins is altogether different in tone from Polwhele's later, better-known prose comedy, The Frolicks; or, The Lawyer Cheated (1671). The introduction to this modern-spelling edition of The Faithful Virgins discusses the play in terms of radical changes in English stage practices following the restoration of the monarchy after England’s civil war and situates Polwhele’s play within the social and political life of seventeenth-century London. Trade Review"This fine volume makes available a play long overlooked in Restoration drama studies: Polwhele’s The Faithful Virgins (ca. 1669–1671). Ann Hollinshead Hurley’s informative introduction and carefully edited text disclose Polwhele’s imaginative response to rapidly changing theatrical tastes in the1660s. The stage directions show Polwhele skillfully using the spectacular effects of which Restoration stagecraft was capable, while the text reveals a fascinating mélange of dramatic forms. The Faithful Virgins marries in a singular manner tragicomedy to masque and includes a dumb show, proving once again, that the phrase “Restoration drama” is by no means synonymous with comedy of manners. The editor’s introduction also provides for scholars and students alike useful information on the Restoration stage, in addition to making available the most thorough biographical material on Polwhele to date." -- Deborah C. Payne, Professor of Literature, American UniversityTable of ContentsAcknowledgments Illustrations Abbreviations INTRODUCTION THE FAITHFUL VIRGINS APPENDIX: Title page: The Gentlewomans Companion; or, a GUIDE to the FEMALE SEX On His ROYAL HIGHNESS: His Expedition against the DUTCH Bibliography Index
£34.20
Lexington Books Shakespeare and the Elizabethan Reformation
Book SynopsisShakespeare and the Elizabethan Reformation: Literary Negotiation of Religious Difference explores how Shakespeare's plays dramatize key issues of the Elizabethan Reformation, the conflict between the sacred, the critical, and the disenchanted; alternatively, the Catholic, the Protestant, and the secular. Each play imagines their reconciliation or the failure of reconcilation. The Catholic sacred is shadowed by its degeneration into superstition, Protestant critique by its unintended (fissaparous) consequences, the secular ordinary by stark disenchantment. Shakespeare shows how all three perspectives are needed if society is to face its intractable problems, thus providing a powerful model for our own ecumenical dialogues. Shakespeare begins with history plays contrasting the saintly but impractical King Henry VI, whose assassination is the primal crime, with the pragmatic and secular Henry IV, until imagining in the later 1590's how Hal can reconnect with sacred sources. At the same time in his comedies, Shakespeare imagines cooperative ways of resolving the national comedy of errors, of sorting out erotic and marital and contemplative confusions by applying his triple lens. His late Elizabethan comedies achieve a polished balance of wit and devotion, ordinary and the sacred, old and new orders. Hamlet is Shakespeare's ultimate Elizabethan consideration of these issues, its so-called lack of objective correlation a response to the unsorted trauma of the Reformation.
£34.20
Texas Review Press Five Conversations About Peter Sellers: Hybrid
Book SynopsisFive Conversations About Peter Sellers is an essay that begins as an exploration of the author’s burgeoning obsession with Peter Sellers, and specifically his role in hijacking and derailing production of the spy spoof, Casino Royale, in the late 60s. But what begins as a reported piece on how the film set erupted into chaos, quickly devolves into its own chaos as the essay splits into 5 different narrators, each with their own idea of what the essay is actually about. Is it about how Peter Sellers and his oversize ego ruined Casino Royale? Is it about how society has too long allowed horrible men to run the world? Is it an exploration of the nature of the essay as a creative form? Or is Peter Sellers and his genius at impersonation actually a vehicle through which the author probes her own shifting identity as a bi-ethnic person? The answer is...yes. From Five Conversations About Peter SellersBeth: There’s a passage in Notes from Underground where the narrator speaks about the perverse pleasure of knowing your own vileness. ‘This pleasure comes precisely from the sharpest awareness of your own degradation; from the knowledge that you have gone to the utmost limit; that it is despicable, yet can’t be otherwise, that you no longer have any way out, that you will never become a different man.’ Build all the utopias you want, but some people can only know they’re alive when they’ve destroyed everything beautiful around them.
£15.26
Academica Press Approaches to the Contemporary American Theatre
Book SynopsisIn this engaging study, theatre scholar Robert J. Andreach argues, in what will be his final book, that the contemporary American theatre merits appreciation for dramatizing experiences in genres that jostle the audience into thinking about the experiences in new ways, based on five units of analysis: the naturalistic play, modernist theatre, trilogies, tragedy, and comedy. Andreach’s insights maintain that familiarity with these five units should stimulate thinking about the experiences and what they reveal about contemporary American life and the ways in which the theatre can dramatize that life.
£112.50
Academica Press Shakespeare & Jung - The God in Time: Meditations
Book SynopsisIn Shakespeare and Jung - The God in Time literary critic and philosopher James Driscoll presents original arguments for the existence and nature of God. He traverses the boundaries of art, philosophy, psychology, and religion to draw on Shakespeare, Carl Jung, and A. N. Whitehead to define and illuminate the interconnections of God and time.Time’s irreversibility and continuous creation of novelty makes it the medium and engine of order, value, and meaning. Time connects and differentiates all, thereby making reality relational and allowing for feeling, thought, art, and science. Shakespeare, the writer with the greatest insight into human nature, dramatized the primacy of time in our lives. Time is the de facto God of Shakespeare’s worlds. Shakespeare anticipated our own age when time began to displace eternity as the ground of reality. Jung gave us a new map of the psyche and terminology to explore more deeply the human condition, bound as it is in time, and the nature of deity. Driscoll carries Jung’s insights further into the three paradigmatic revelations of the Western Godhead: The Book of Job, the Gospels, and Shakespeare’s King Lear. Shakespeare the artist grasped the dynamics of the Western Godhead giving us a singular revelation of its dominant archetypes, Yahweh, Job, Prometheus, and Christ.The archetypes of the Western Godhead shaped the development of art, science, and technology and energized the ideals of progress and freedom. The West advanced rapidly in science, the arts, and human rights because of the unique archetypal dynamics of its God in Time.
£85.60
Pegasus Books The Globe Guide to Shakespeare
Book Synopsis
£23.96
H.W. Wilson Publishing Co. Romeo and Juliet
Book SynopsisIn-depth critical discussions of William Shakespeare's play - Plus complimentary, unlimited online access to the full content of this great literary reference.Romeo and Juliet examines many aspects of Shakespeare's classic tale of star-crossed lovers including the history of the play's criticism, issues of confession, trauma and uses of the imagination. Essays on film adaptations and parodies as well as pluralistic appraoches to the balcony scene are also included.Each essay is 2,500 to 5,000 words in length, and all essays conclude with a list of ""Works Cited,"" along with endnotes. Finally, the volume's appendixes offer a section of useful reference resources: About This Volume Critical Context: Original Introductory Essays Critical Readings: Original In-Depth Essays Further Readings Detailed Bibliography Detailed Bio of the Editor General Subject Index
£88.40
Bucknell University Press,U.S. Odysseys of Recognition: Performing
Book SynopsisLiterary recognition is a technical term for a climactic plot device. Odysseys of Recognition claims that interpersonal recognition is constituted by performance, and brings performance theory into dialogue with poetics, politics, and philosophy. By observing Odysseus figures from Homer to Kleist, Ellwood Wiggins offers an alternative to conventional intellectual histories that situate the invention of the interior self in modernity. Through strategic readings of Aristotle, this elegantly written, innovative study recovers an understanding of interpersonal recognition that has become strange and counterintuitive. Penelope in Homer’s Odyssey offers a model for agency in ethical knowledge that has a lot to teach us today. Early modern and eighteenth-century characters, meanwhile, discover themselves not deep within an impenetrable self, but in the interpersonal space between people in the world. Recognition, Wiggins contends, is the moment in which epistemology and ethics coincide: in which what we know becomes manifest in what we do. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.Trade Review"This is an intelligent, serious, patient, and innovative work. It is also beautifully written: nimble, unaffected, crystal-clear, and often entertaining." -- Nicholas Rennie * Rutgers University *"Poised between literary studies, philosophy, and political theory, the elegant Odysseys of Recognition will be of interest to a broad range of scholars. Scholars of the Goethezeit will find much to contemplate, as will classicists and philosophers." * Goethe Yearbook *"To take Wiggins at his word, the varied recognitions that result from his painstaking analyses are both decisively conclusive and tantalizingly openended. The point is to learn to be amenable to change in all its potentiality— that is, without settling for a substantial conclusion that would preclude further modification. In this way Wiggins’s assiduous brand of literary criticism acquires ethical urgency. As he beautifully formulates it, given the temporal nature of intersubjective, performative relations, any conclusion “is never fully commensurate with or explanatory of the living complexity of another human." * Modern Language Quarterly *"Wiggins’s monograph solicits and breaks ground for further readings in and beyond the texts he addresses. For whether it is a question of the most often cited texts of antiquity, their reinventions in the renaissance, or their adaptations in Weimar Classicism, and romanticism, Wiggins’s interventions will have altered what it means to come to know them." * The German Quarterly *"Ellwood Wiggins has produced a learned and thoughtful study of Aristotelian anagnorisis and its applicability to literary texts from Homer to Kleist." * German Studies Review *"This is an intelligent, serious, patient, and innovative work. It is also beautifully written: nimble, unaffected, crystal-clear, and often entertaining." -- Nicholas Rennie * Rutgers University *"Poised between literary studies, philosophy, and political theory, the elegant Odysseys of Recognition will be of interest to a broad range of scholars. Scholars of the Goethezeit will find much to contemplate, as will classicists and philosophers." * Goethe Yearbook *"To take Wiggins at his word, the varied recognitions that result from his painstaking analyses are both decisively conclusive and tantalizingly openended. The point is to learn to be amenable to change in all its potentiality— that is, without settling for a substantial conclusion that would preclude further modification. In this way Wiggins’s assiduous brand of literary criticism acquires ethical urgency. As he beautifully formulates it, given the temporal nature of intersubjective, performative relations, any conclusion “is never fully commensurate with or explanatory of the living complexity of another human." * Modern Language Quarterly *"Wiggins’s monograph solicits and breaks ground for further readings in and beyond the texts he addresses. For whether it is a question of the most often cited texts of antiquity, their reinventions in the renaissance, or their adaptations in Weimar Classicism, and romanticism, Wiggins’s interventions will have altered what it means to come to know them." * The German Quarterly *"Ellwood Wiggins has produced a learned and thoughtful study of Aristotelian anagnorisis and its applicability to literary texts from Homer to Kleist." * German Studies Review *Table of Contents Overview of Contents ... viiIllustrations ... viiiAbbreviations ... ixA Note on Translations and Orthography ... xi Introduction: Performing Recognition ... 1 Interiority Illusion Instantaneousness Illusion Recognition as Performance Aims and Scope of Readings Part I. Marking the Limits of Recognition: Between Aristotle and the Odyssey ... 31 1 “Just as the name itself signifies”: Under the Sign of Recognition ... 37 Nostalgia and Recognition Recognitions in Mycenae and Sparta Nostalgic Recognition and Epic Afterness Self-signification and the Nostalgia of Semiotics 2 “Recognition is a change”: Performance in Motion ... 84 Rhapsodic Mimesis and Narration Change in Aristotle’s Physics and Poetics Crying for Show in the Odyssey Recognition in Performance Theory and Moral Philosophy 3 “From ignorance to knowledge”: Penelope’s Poetological Epistemology ... 131 Penelopean Epistemology (Reading Penelope) Penelopean Poetics (Penelope Reading) 4 “Into friendship or enmity”: An Ethics of Authentic Deception ... 164 5 “For those bound for good or bad fortune”: Casualties of Recognition ... 193 Part II. Outing Interiority: Modern Recognitions ... 211 6 Self-Knowledge Between Plato and Shakespeare: Alcibiades and Troilus and Cressida ... 218 Philosophy or Theater? Mirrored Dramatic Structures Mirrored Selves 7 Metamorphoses of Recognition: Goethe’s “Fortunate Event” ... 248 “Glückliches Ereignis” as Anagnorisis Scene Recognizing Action: Visualizing Stories Recognizing Things: Experiencing Ideas Recognizing People: Moving Tableaux 8 Epistemologies of Recognition: Goethe’s Iphigenie auf Tauris and the Spectacle of Catharsis ... 292 Spirals of Intertextual Performance Intertextual Intersubjectivity Intertextual Spectacle The Effects of Tragedy 9 Politics of Recognition: Friends, Enemies, and Goethe’s Iphigenie ... 324 Between Recognition and Acknowledgement The Exception of Friendship The Promise of Politics 10 The Fate of Recognition: Kleist’s Penthesilea ... 361 The Mirrored Gaze Plays within Plays Concluding Reflections: Signifying Silence in Blumenberg and Kafka ... 403Acknowledgements ... 417Bibliography ... 421Index ... 448About the Author ... 449
£107.20
Bucknell University Press,U.S. Faust: A Tragedy, Part I
Book SynopsisGoethe is the most famous German author, and the poetic drama Faust, Part I (1808) is his best-known work, one that stands in the company of other leading canonical works of European literature such as Dante’s Inferno and Shakespeare’s Hamlet. This is the first new translation into English since David Constantine’s 2005 version. Why another translation when there are several currently in print? To invoke Goethe’s own authority when speaking of his favorite author, Shakespeare, Goethe asserts that so much has already been said about the poet-dramatist “that it would seem there’s nothing left to say,” but adds, “yet it is the peculiar attribute of the spirit that it constantly motivates the spirit.” Goethe’s great dramatic poem continues to speak to us in new ways as we and our world continually change, and thus a new or updated translation is always necessary to bring to light Faust’s almost inexhaustible, mysterious, and enchanting poetic and cultural power. Eugene Stelzig’s new translation renders the text of the play in clear and crisp English for a contemporary undergraduate audience while at the same time maintaining its leading poetic features, including the use of rhyme. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.Trade ReviewStelzig's translation is an excellent and unusually accessible introduction to Goethe's text for college students. Its dramatic prose with occasional rhyme catches the basic tone of Goethe's play and loosely follows the lineation of the original. Accurate and clear enough to stand on its own with minimal annotation, lively enough to keep students reading and to read aloud in class, it is a superb choice for world literature courses or for departmental courses in translation. -- Jane K. Brown * University of Washington *This exciting new translation of Goethe’s Faust brings the text to life for a contemporary audience. Stelzig’s 'flexible' approach to poetic translation is eminently successful: the complexity of the text is allowed to emerge without completely sacrificing its poetry. I highly recommend it--especially for the classroom and first-time English readers of Faust. -- Astrida Tantillo * University of Illinois at Chicago *"The renewing potential of translation—indeed, of any act of cultural transmission—lies at the heart of so many of Goethe’s works, and Stelzig has succeeded in crafting a vibrant English version of this masterpiece." * Eighteenth-Century Studies *"This translation successfully captures the power of the text and maintains, as best as possible, fidelity to the original, even as the author has made many choices to produce a readable and quite modern Faust." * The Wordsworth Circle *"Stelzig’s translation succeeds in establishing this desired rapport between Goethe’s German text and English-speaking readers of the twenty-first century. By using contemporary but not overly colloquial language, by conveying some of the range of Goethe’s explicit and implicit meaning, and by creating a text with sonorous, poetic qualities, Stelzig has produced a translation that will make Goethe’s work accessible to a range of readers. It would certainly be appropriate for undergraduate literature courses; the scholarly apparatus (introduction and notes) is informative without being pedantic. The translation would, I think, also lend itself to use in theatrical performances." * European Romantic Review *"Stelzig has provided a solid, readable text of Faust I that should remain enjoyable and useful for a long while." * Goethe Yearbook *Table of ContentsTranslator’s Note IntroductionFAUST, PART I Further Reading Contemporary English Translations of Faust, Part I Acknowledgements Authorial Note
£17.99
Bucknell University Press,U.S. Faust: A Tragedy, Part I
Book SynopsisGoethe is the most famous German author, and the poetic drama Faust, Part I (1808) is his best-known work, one that stands in the company of other leading canonical works of European literature such as Dante’s Inferno and Shakespeare’s Hamlet. This is the first new translation into English since David Constantine’s 2005 version. Why another translation when there are several currently in print? To invoke Goethe’s own authority when speaking of his favorite author, Shakespeare, Goethe asserts that so much has already been said about the poet-dramatist “that it would seem there’s nothing left to say,” but adds, “yet it is the peculiar attribute of the spirit that it constantly motivates the spirit.” Goethe’s great dramatic poem continues to speak to us in new ways as we and our world continually change, and thus a new or updated translation is always necessary to bring to light Faust’s almost inexhaustible, mysterious, and enchanting poetic and cultural power. Eugene Stelzig’s new translation renders the text of the play in clear and crisp English for a contemporary undergraduate audience while at the same time maintaining its leading poetic features, including the use of rhyme. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.Trade ReviewStelzig's translation is an excellent and unusually accessible introduction to Goethe's text for college students. Its dramatic prose with occasional rhyme catches the basic tone of Goethe's play and loosely follows the lineation of the original. Accurate and clear enough to stand on its own with minimal annotation, lively enough to keep students reading and to read aloud in class, it is a superb choice for world literature courses or for departmental courses in translation. -- Jane K. Brown * University of Washington *This exciting new translation of Goethe’s Faust brings the text to life for a contemporary audience. Stelzig’s 'flexible' approach to poetic translation is eminently successful: the complexity of the text is allowed to emerge without completely sacrificing its poetry. I highly recommend it--especially for the classroom and first-time English readers of Faust. -- Astrida Tantillo * University of Illinois at Chicago *"The renewing potential of translation—indeed, of any act of cultural transmission—lies at the heart of so many of Goethe’s works, and Stelzig has succeeded in crafting a vibrant English version of this masterpiece." * Eighteenth-Century Studies *"This translation successfully captures the power of the text and maintains, as best as possible, fidelity to the original, even as the author has made many choices to produce a readable and quite modern Faust." * The Wordsworth Circle *"Stelzig’s translation succeeds in establishing this desired rapport between Goethe’s German text and English-speaking readers of the twenty-first century. By using contemporary but not overly colloquial language, by conveying some of the range of Goethe’s explicit and implicit meaning, and by creating a text with sonorous, poetic qualities, Stelzig has produced a translation that will make Goethe’s work accessible to a range of readers. It would certainly be appropriate for undergraduate literature courses; the scholarly apparatus (introduction and notes) is informative without being pedantic. The translation would, I think, also lend itself to use in theatrical performances." * European Romantic Review *"Stelzig has provided a solid, readable text of Faust I that should remain enjoyable and useful for a long while." * Goethe Yearbook *Stelzig's translation is an excellent and unusually accessible introduction to Goethe's text for college students. Its dramatic prose with occasional rhyme catches the basic tone of Goethe's play and loosely follows the lineation of the original. Accurate and clear enough to stand on its own with minimal annotation, lively enough to keep students reading and to read aloud in class, it is a superb choice for world literature courses or for departmental courses in translation. -- Jane K. Brown * University of Washington *This exciting new translation of Goethe’s Faust brings the text to life for a contemporary audience. Stelzig’s 'flexible' approach to poetic translation is eminently successful: the complexity of the text is allowed to emerge without completely sacrificing its poetry. I highly recommend it--especially for the classroom and first-time English readers of Faust. -- Astrida Tantillo * University of Illinois at Chicago *"The renewing potential of translation—indeed, of any act of cultural transmission—lies at the heart of so many of Goethe’s works, and Stelzig has succeeded in crafting a vibrant English version of this masterpiece." * Eighteenth-Century Studies *"This translation successfully captures the power of the text and maintains, as best as possible, fidelity to the original, even as the author has made many choices to produce a readable and quite modern Faust." * The Wordsworth Circle *"Stelzig’s translation succeeds in establishing this desired rapport between Goethe’s German text and English-speaking readers of the twenty-first century. By using contemporary but not overly colloquial language, by conveying some of the range of Goethe’s explicit and implicit meaning, and by creating a text with sonorous, poetic qualities, Stelzig has produced a translation that will make Goethe’s work accessible to a range of readers. It would certainly be appropriate for undergraduate literature courses; the scholarly apparatus (introduction and notes) is informative without being pedantic. The translation would, I think, also lend itself to use in theatrical performances." * European Romantic Review *"Stelzig has provided a solid, readable text of Faust I that should remain enjoyable and useful for a long while." * Goethe Yearbook *Table of ContentsTranslator’s Note IntroductionFAUST, PART I Further Reading Contemporary English Translations of Faust, Part I Acknowledgements Authorial Note
£32.30
Bucknell University Press,U.S. The Novel Stage: Narrative Form from the
Book Synopsis2020 Choice Outstanding Academic Title Marcie Frank’s study traces the migration of tragicomedy, the comedy of manners, and melodrama from the stage to the novel, offering a dramatic new approach to the history of the English novel that examines how the collaboration of genres contributed to the novel’s narrative form and to the modern organization of literature. Drawing on media theory and focusing on the less-examined narrative contributions of such authors as Aphra Behn, Frances Burney, and Elizabeth Inchbald, alongside those of Samuel Richardson, Henry Fielding, and Jane Austen, The Novel Stage tells the story of the novel as it was shaped by the stage. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press. Trade Review“This interesting study explores the ways in which novels borrow from and develop theatrical conventions and forms during the eighteenth century. Examining a spectrum of practices, Frank explores the complex relationships between genre and form and offers new insights into the relationship between eighteenth-century theatre and literature.”— Helen Brooks, author of Actresses, Gender and the Eighteenth-Century Stage: Playing Women “The Novel Stage is an engaging and provocative text; its major insights about the key role of the repertory in eighteenth-century reading habits and the collaborations between theatre and fiction are bracing and of wide-ranging use.” — Manushug Powell, author of Performing Authorship in Eighteenth-Century English Periodicals "Frank’s emphasis on generic and media fluidity and interrogation of fixed mindsets around them are, to use one of the words she unpacks in Burney’s novels, provocative; I can certainly see why The Novel Stage was named a 2020 Choice Outstanding Academic Title....Frank’s work is excellent at pointing towards new, interdisciplinary approaches to important discussions of genre and form."— Tulsa Studies in Women’s Literature "An important and long-overdue consideration of the relationship between the theater and the novel in the long 18th century, The Novel Stage treats major Restoration and 18th-century dramatic forms—tragicomedy, comedy of manners, and melodrama—as they abandon the stage to take up residence in prose fiction. Essential."— ChoiceTable of ContentsList of Illustrations Preface: The Novel Stage Chapter 1: Genre, Media, and the Theory of the Novel Chapter 2: The Reform of the Rake from Rochester to Inchbald Chapter 3: Performing Reading in Richardson and Fielding Chapter 4: The Promise of Embarrassment: Frances Burney’s Theater of Shame Chapter 5: Melodrama in Inchbald and Austen Coda: The Melodramatic Address Acknowledgements Bibliography
£28.90
Bucknell University Press,U.S. The Novel Stage: Narrative Form from the
Book Synopsis2020 Choice Outstanding Academic Title Marcie Frank’s study traces the migration of tragicomedy, the comedy of manners, and melodrama from the stage to the novel, offering a dramatic new approach to the history of the English novel that examines how the collaboration of genres contributed to the novel’s narrative form and to the modern organization of literature. Drawing on media theory and focusing on the less-examined narrative contributions of such authors as Aphra Behn, Frances Burney, and Elizabeth Inchbald, alongside those of Samuel Richardson, Henry Fielding, and Jane Austen, The Novel Stage tells the story of the novel as it was shaped by the stage. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press. Trade Review"An important and long-overdue consideration of the relationship between the theater and the novel in the long 18th century, The Novel Stage treats major Restoration and 18th-century dramatic forms—tragicomedy, comedy of manners, and melodrama—as they abandon the stage to take up residence in prose fiction. Essential." * Choice *"Frank’s emphasis on generic and media fluidity and interrogation of fixed mindsets around them are, to use one of the words she unpacks in Burney’s novels, provocative; I can certainly see why The Novel Stage was named a 2020 Choice Outstanding Academic Title....Frank’s work is excellent at pointing towards new, interdisciplinary approaches to important discussions of genre and form." * Tulsa Studies in Women’s Literature *“This interesting study explores the ways in which novels borrow from and develop theatrical conventions and forms during the eighteenth century. Examining a spectrum of practices, Frank explores the complex relationships between genre and form and offers new insights into the relationship between eighteenth-century theatre and literature.” -- Helen Brooks * author of Actresses, Gender and the Eighteenth-Century Stage: Playing Women *“The Novel Stage is an engaging and provocative text; its major insights about the key role of the repertory in eighteenth-century reading habits and the collaborations between theatre and fiction are bracing and of wide-ranging use.” -- Manushug Powell * author of Performing Authorship in Eighteenth-Century English Periodicals *"An important and long-overdue consideration of the relationship between the theater and the novel in the long 18th century, The Novel Stage treats major Restoration and 18th-century dramatic forms—tragicomedy, comedy of manners, and melodrama—as they abandon the stage to take up residence in prose fiction. Essential." * Choice *"Frank’s emphasis on generic and media fluidity and interrogation of fixed mindsets around them are, to use one of the words she unpacks in Burney’s novels, provocative; I can certainly see why The Novel Stage was named a 2020 Choice Outstanding Academic Title....Frank’s work is excellent at pointing towards new, interdisciplinary approaches to important discussions of genre and form." * Tulsa Studies in Women’s Literature *Table of ContentsList of Illustrations Preface: The Novel Stage Chapter 1: Genre, Media, and the Theory of the Novel Chapter 2: The Reform of the Rake from Rochester to Inchbald Chapter 3: Performing Reading in Richardson and Fielding Chapter 4: The Promise of Embarrassment: Frances Burney’s Theater of Shame Chapter 5: Melodrama in Inchbald and Austen Coda: The Melodramatic Address Acknowledgements Bibliography
£107.20
Bucknell University Press,U.S. Play in the Age of Goethe: Theories, Narratives,
Book SynopsisWe are inundated with game play today. Digital devices offer opportunities to play almost anywhere and anytime. No matter our age, gender, social, cultural, or educational background—we play. Play in the Age of Goethe: Theories, Narratives, and Practices of Play around 1800 is the first book-length work to explore how the modern discourse of play was first shaped during this pivotal period (approximately 1770-1830). The eleven chapters illuminate critical developments in the philosophy, pedagogy, psychology, politics, and poetics of play as evident in the work of major authors of the period including Lessing, Goethe, Kant, Schiller, Pestalozzi, Jacobi, Tieck, Jean Paul, Schleiermacher, and Fröbel. While drawing on more recent theories of play by thinkers such as Jean Piaget, Donald Winnicott, Jost Trier, Gregory Bateson, Jacques Derrida, Thomas Henricks, and Patrick Jagoda, the volume shows the debates around play in German letters of this period to be far richer and more complex than previously thought, as well as more relevant for our current engagement with play. Indeed, modern debates about what constitutes good rather than bad practices of play can be traced to these foundational discourses. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press. Trade Review"Play in the Age of Goethe is a brilliantly conceived and edited volume that explores the topic of "play" with a view to both its historical development and its contemporary importance. While canonical authors receive their due, the essays likewise address domains of research not usually treated in literary historical studies. Theory and practice are skillfully blended and the various perspectives represented in the essays are mutually enhancing. The contributions fully realize the intention of the volume to make clear how rich and various, how intellectually compelling and fecund the thoughts about and fictional treatments of play in the German-speaking lands at the end of the eighteenth and beginning of the nineteenth centuries in fact were." -- David E. Wellbery * author of The Specular Moment: Goethe’s Early Lyric and the Beginnings of Romanticism *"This is a superb collection of essays on a topic of central interest to scholars of eighteenth-century literature and culture, as well as students of continental philosophy and theoreticians of play. The introduction is lively and intriguing, setting the stage for the essays to come and maintaining interest via a very concise, yet wide-ranging account of the importance of play and games in contemporary life and what is at stake in the practice." -- Gail K. Hart * author of Friedrich Schiller: Crime, Aesthetic, and the Poetics of Punishment *"This collection's strength is evident in the care each author takes with the theme, material, and development of what amount to multiple interlocking frameworks for understanding play circa 1800." * Monatshefte *“[Play in the Age of Goethe] is another impressive work in the series New Studies in the Age of Goethe and clearly demonstrates the productivity of scholars in the field and their many interdisciplinary connections.” * Goethe Yearbook, 2023 *"This is a superb collection of essays on a topic of central interest to scholars of eighteenth-century literature and culture, as well as students of continental philosophy and theoreticians of play. The introduction is lively and intriguing, setting the stage for the essays to come and maintaining interest via a very concise, yet wide-ranging account of the importance of play and games in contemporary life and what is at stake in the practice." -- Gail K. Hart * author of Friedrich Schiller: Crime, Aesthetic, and the Poetics of Punishment *"This collection's strength is evident in the care each author takes with the theme, material, and development of what amount to multiple interlocking frameworks for understanding play circa 1800." * Monatshefte *"Play in the Age of Goethe is a brilliantly conceived and edited volume that explores the topic of 'play' with a view to both its historical development and its contemporary importance. While canonical authors receive their due, the essays likewise address domains of research not usually treated in literary historical studies. Theory and practice are skillfully blended and the various perspectives represented in the essays are mutually enhancing. The contributions fully realize the intention of the volume to make clear how rich and various, how intellectually compelling and fecund the thoughts about and fictional treatments of play in the German-speaking lands at the end of the eighteenth and beginning of the nineteenth centuries in fact were." -- David E. Wellbery * author of The Specular Moment: Goethe’s Early Lyric and the Beginnings of Romanticism *Table of Contents List of Illustrations Introduction: Play in the Age of Goethe and Today Part 1: Free Play Chapter 1: Beauty and Erotic Play: Anacreontic Poetry’s Transformation of Aesthetic Philosophy Christian P. Weber Chapter 2: Free Play in German Idealism and Poststructuralism Samuel Heidepriem Part 2: Games of Chance Chapter 3: “Mit dem Spiele spielen”: Lessing’s Play for Tolerance Edgar Landgraf Chapter 4: Play with Memory and Its Topoi: Faust Nicholas Rennie Part 3: Children’s Play Chapter 5: Narcissus at Play: Goethe, Piaget, and the Passage from Egocentric to Social Play Elliott Schreiber Chapter 6: Playthings: Goethe’s Favorite Toys Patricia Anne Simpson Chapter 7: Kindergarten and the Pedagogy of Play in the German Educational Revolution Ian F. McNeely Interlude Chapter 8: Invective, Eulogy, Play: Jacobi’s Sock 1799 Christiane Frey Part 4: The Play of Language Chapter 9: Between Speaking and Listening: Jean Paul’s Word-Play Michael Powers Chapter 10: Authorship, Translation, Play: Schleiermacher’s Metalangual Poetics David Martyn Chapter 11: Playing with Words in Early German Romanticism Brian Tucker Acknowledgments Bibliography Notes on Contributors Index
£107.20
Bucknell University Press,U.S. Lothario's Corpse: Libertine Drama and the
Book SynopsisLothario’s Corpse unearths a performance history, on and off the stage, of Restoration libertine drama in Britain’s eighteenth and early nineteenth centuries. While standard theater histories emphasize libertine drama’s gradual disappearance from the nation’s acting repertory following the dispersal of Stuart rule in 1688, Daniel Gustafson traces its persistent appeal for writers and performers wrestling with the powers of the emergent liberal subject and the tensions of that subject with sovereign absolutism. With its radical, absolutist characters and its scenarios of aristocratic license, Restoration libertine drama became a critical force with which to engage in debates about the liberty-loving British subject’s relation to key forms of liberal power and about the troubling allure of lawless sovereign power that lingers at the heart of the liberal imagination. Weaving together readings of a set of literary texts, theater anecdotes, political writings, and performances, Gustafson illustrates how the corpse of the Restoration stage libertine is revived in the period’s debates about liberty, sovereign desire, and the subject’s relation to modern forms of social control. Ultimately, Lothario’s Corpse suggests the “long-running” nature of Restoration theatrical culture, its revived and revised performances vital to what makes post-1688 Britain modern. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press. Trade Review"Lothario's Corpse is an innovative contribution to the study of Restoration and 18th-century drama. Gustafson has read admirably widely, taking as a remit not only dramatic texts but pamphlets, diaries, and press accounts that consider the figure of the rake or libertine as theatrical character type, political phenomenon, or both. In these provocative pages the irrepressible, unruly return of the rake—onstage and as performed in nontheatrical life—is a phenomenon beyond theater history that makes visible the unsettled dynamics of sovereignty and subjectivity in the long 18th century." -- Brett D. Wilson * author of A Race of Female Patriots: Women and Public Spirit on the British Stage, 1688-1745 *"Lothario's Corpse exemplifies the very best of recent work on Restoration and eighteenth-century performance history. Gustafson's ambitious book not only rereads the figure of the libertine but also overturns a standard narrative in theater history, namely that the rise of bourgeois, sentimental comedy in the eighteenth century made earlier libertine fare unacceptable, on stage and off. The writing is lively and pleasing, and the scholarship commendable: Gustafson has clearly done his homework. Readers from a range of disciplines, from theatre studies to eighteenth-century literature, will benefit enormously from his erudition." -- Deborah C. Payne * editor of The Cambridge Companion to English Restoration Theatre *"Gustafson’s [give readers] engagement with the liveness of the Restoration." * Restoration Journal *"Lothario’s Corpse directs the reader’s attention to the power of performance and to the expansiveness and breadth of history and its multiplicity—histories—when viewed through performance’s lenses. [Gustafson's] readings and case studies of the Restoration libertine’s many afterlives lift the curtain on the long-running repertoire of performances and reenactments that have shaped cultural fantasies about the British subject since the early eighteenth century. " * Eighteenth-Century Studies *Table of Contents Introduction: The Long-Running Restoration 1 Corpsing Lothario 2 Debating Dorimant 3 Stuarts without End 4 Libertines and Liberalism Conclusion Acknowledgments Bibliography Index
£28.90
Bucknell University Press,U.S. Lothario's Corpse: Libertine Drama and the
Book SynopsisLothario’s Corpse unearths a performance history, on and off the stage, of Restoration libertine drama in Britain’s eighteenth and early nineteenth centuries. While standard theater histories emphasize libertine drama’s gradual disappearance from the nation’s acting repertory following the dispersal of Stuart rule in 1688, Daniel Gustafson traces its persistent appeal for writers and performers wrestling with the powers of the emergent liberal subject and the tensions of that subject with sovereign absolutism. With its radical, absolutist characters and its scenarios of aristocratic license, Restoration libertine drama became a critical force with which to engage in debates about the liberty-loving British subject’s relation to key forms of liberal power and about the troubling allure of lawless sovereign power that lingers at the heart of the liberal imagination. Weaving together readings of a set of literary texts, theater anecdotes, political writings, and performances, Gustafson illustrates how the corpse of the Restoration stage libertine is revived in the period’s debates about liberty, sovereign desire, and the subject’s relation to modern forms of social control. Ultimately, Lothario’s Corpse suggests the “long-running” nature of Restoration theatrical culture, its revived and revised performances vital to what makes post-1688 Britain modern. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press. Trade Review"Lothario's Corpse is an innovative contribution to the study of Restoration and 18th-century drama. Gustafson has read admirably widely, taking as a remit not only dramatic texts but pamphlets, diaries, and press accounts that consider the figure of the rake or libertine as theatrical character type, political phenomenon, or both. In these provocative pages the irrepressible, unruly return of the rake—onstage and as performed in nontheatrical life—is a phenomenon beyond theater history that makes visible the unsettled dynamics of sovereignty and subjectivity in the long 18th century." -- Brett D. Wilson * author of A Race of Female Patriots: Women and Public Spirit on the British Stage, 1688-1745 *"Lothario's Corpse exemplifies the very best of recent work on Restoration and eighteenth-century performance history. Gustafson's ambitious book not only rereads the figure of the libertine but also overturns a standard narrative in theater history, namely that the rise of bourgeois, sentimental comedy in the eighteenth century made earlier libertine fare unacceptable, on stage and off. The writing is lively and pleasing, and the scholarship commendable: Gustafson has clearly done his homework. Readers from a range of disciplines, from theatre studies to eighteenth-century literature, will benefit enormously from his erudition." -- Deborah C. Payne * editor of The Cambridge Companion to English Restoration Theatre *"Gustafson’s [give readers] engagement with the liveness of the Restoration." * Restoration Journal *"Lothario’s Corpse directs the reader’s attention to the power of performance and to the expansiveness and breadth of history and its multiplicity—histories—when viewed through performance’s lenses. [Gustafson's] readings and case studies of the Restoration libertine’s many afterlives lift the curtain on the long-running repertoire of performances and reenactments that have shaped cultural fantasies about the British subject since the early eighteenth century. " * Eighteenth-Century Studies *Table of Contents Introduction: The Long-Running Restoration 1 Corpsing Lothario 2 Debating Dorimant 3 Stuarts without End 4 Libertines and Liberalism Conclusion Acknowledgments Bibliography Index
£107.20
Bucknell University Press,U.S. Modes of Play in Eighteenth-Century France
Book SynopsisCollecting diverse critical perspectives on the topic of play—from dolls, bilboquets, and lotteries, to writing itself—this volume offers new insights into how play was used to represent and reimagine the world in eighteenth-century France. In documenting various modes of play, contributors theorize its relation to law, religion, politics, and economics. Equally important was the role of “play” in plays, and the function of theatrical performance in mirroring, and often contesting, our place in the universe. These essays remind us that the spirit of play was very much alive during the “Age of Reason,” providing ways for its practitioners to consider more “serious” themes such as free will and determinism, illusions and equivocations, or chance and inequality. Standing at the intersection of multiple intellectual avenues, this is the first comprehensive study in English devoted to the different guises of play in Enlightenment France, certain to interest curious readers across disciplinary backgrounds.Trade Review"Bringing together game studies and 18th-century French studies, Modes of Play in Eighteenth-Century France is a most welcome contribution to the study of French literature, history, and culture. The collection introduces us to understudied works and provides fresh approaches to canonical texts, broadening our understanding of the interaction between play, culture, and politics." -- Tracy Rutler * co-creator of Legacies of the Enlightenment *"An enjoyable and stimulating collection, this volume will be of much interest to students and scholars alike. It will undoubtedly spur new scholarly work on the history of play which, as the editors and contributors so convincingly show, is no trivial matter." -- Gemma Tidman * H-France Review *Table of ContentsIntroduction Fayçal Falaky and Reginald McGinnis 1 Playing with Dolls in Old Regime Fairy Tales Rori Bloom 2 The Morality of Bilboquet, or the Equivocations of Language Jean-Alexandre Perras 3 Fiction as Play: Rhetorical Subversion in Alain-René Lesage’s Histoire de Gil Blas de Santillane Zeina Hakim 4 Playthings of Fortune: Lots, Games of Chance, and Inequality in l’Abbé Prévost Masano Yamashita 5 Boundless Play and Infinite Pleasure in the Chevalier de Béthune’s Relation du monde de Mercure Erika Mandarino 6 The Politics of Orientalist Fantasy in French Opera Katharine Hargrave 7 Playing at Theater: Modes of Play in Théâtre de Société Maria Teodora Comsa 8 Between Play and Ritual: Profane Masquerade in the French Revolution Annelle Curulla 9 The Return of Play, or the End of Revolutionary Theater Yann Robert 10 Video Games as Cultural History: Procedural Narrative and the Eighteenth-Century Fair Theater Jeffrey M. Leichman Acknowledgments Bibliography Notes on Contributors Index
£32.30
Bucknell University Press,U.S. Modes of Play in Eighteenth-Century France
Book SynopsisCollecting diverse critical perspectives on the topic of play—from dolls, bilboquets, and lotteries, to writing itself—this volume offers new insights into how play was used to represent and reimagine the world in eighteenth-century France. In documenting various modes of play, contributors theorize its relation to law, religion, politics, and economics. Equally important was the role of “play” in plays, and the function of theatrical performance in mirroring, and often contesting, our place in the universe. These essays remind us that the spirit of play was very much alive during the “Age of Reason,” providing ways for its practitioners to consider more “serious” themes such as free will and determinism, illusions and equivocations, or chance and inequality. Standing at the intersection of multiple intellectual avenues, this is the first comprehensive study in English devoted to the different guises of play in Enlightenment France, certain to interest curious readers across disciplinary backgrounds.Trade Review"Bringing together game studies and 18th-century French studies, Modes of Play in Eighteenth-Century France is a most welcome contribution to the study of French literature, history, and culture. The collection introduces us to understudied works and provides fresh approaches to canonical texts, broadening our understanding of the interaction between play, culture, and politics." -- Tracy Rutler * co-creator of Legacies of the Enlightenment *"An enjoyable and stimulating collection, this volume will be of much interest to students and scholars alike. It will undoubtedly spur new scholarly work on the history of play which, as the editors and contributors so convincingly show, is no trivial matter." -- Gemma Tidman * H-France Review *Table of ContentsIntroduction Fayçal Falaky and Reginald McGinnis 1 Playing with Dolls in Old Regime Fairy Tales Rori Bloom 2 The Morality of Bilboquet, or the Equivocations of Language Jean-Alexandre Perras 3 Fiction as Play: Rhetorical Subversion in Alain-René Lesage’s Histoire de Gil Blas de Santillane Zeina Hakim 4 Playthings of Fortune: Lots, Games of Chance, and Inequality in l’Abbé Prévost Masano Yamashita 5 Boundless Play and Infinite Pleasure in the Chevalier de Béthune’s Relation du monde de Mercure Erika Mandarino 6 The Politics of Orientalist Fantasy in French Opera Katharine Hargrave 7 Playing at Theater: Modes of Play in Théâtre de Société Maria Teodora Comsa 8 Between Play and Ritual: Profane Masquerade in the French Revolution Annelle Curulla 9 The Return of Play, or the End of Revolutionary Theater Yann Robert 10 Video Games as Cultural History: Procedural Narrative and the Eighteenth-Century Fair Theater Jeffrey M. Leichman Acknowledgments Bibliography Notes on Contributors Index
£107.20
Bucknell University Press,U.S. Space, Drama, and Empire: Mapping the Past in
Book SynopsisSpanish poet, playwright, and novelist Félix Lope de Vega (1562–1635) was a key figure of Golden Age Spanish literature, second only in stature to Cervantes, and is considered the founder of Spain’s classical theater. In this rich and informative study, Javier Lorenzo investigates the symbolic use of space in Lope’s drama and its function as an ideological tool to promote an imagined Spanish national past. In specific plays, this book argues, historical landscapes and settings were used to foretell and legitimize the imperial present in Hapsburg Spain, allowing audiences to visualize and plot, as on a map, the country’s expansionist trajectory throughout the centuries. By focusing on connections among space, drama, and empire, this book makes an important contribution to the study of literature and imperialism in early modern Spain and equally to our understanding of the role and political significance of spatiality in Siglo de Oro comedia.Trade Review“A fascinating and original study of space showing how theater has the unique potential to function as the ultimate vehicle to explore and, more importantly, complicate matters of our past.”— Esther Fernández, author of To Embody the Marvelous: The Making of Illusions in Early Modern Spain “Lorenzo offers a wealth of insights to better understand a corpus of plays that Lope de Vega devised from the heights of artistic sophistication and popular acclaim. Lorenzo’s vivid, clear analysis retraces Lope’s steps as he reworks chronicles, myths, and maps depicting Iberia’s patchwork medieval realms for his own times, with a keen eye and well-tuned ear on the imperatives of Spain’s diverse, far-flung empire. Space, Drama, and Empire is a boon for scholars and students alike.”— Elizabeth Wright, author of The Epic of Juan Latino: Dilemmas of Race and Religion in Renaissance Spain “An eye-opening examination of Golden Age theater focusing on how Lope de Vegas’s plays use symbolic and ideological space, prefigure an imperial present (and future), and legitimize imperial expansion and territorial appropriation.”— Antonio Sánchez Jiménez, author of Lope: El verso y la vida “Lorenzo’s analysis of the representation of geographical space in Lope’s historical dramas provides compelling new insights concerning the reconfiguration of iconic episodes from Spain’s medieval past as imperial or proto-imperial episodes. Of particular interest is the way that Lorenzo identifies absolutist and imperialist undertones in plays that feature the peripheral provincial settings of Galicia, Asturias, and Las Canarias as prefigurations of early modern colonialism.”— Barbara Simerka, author of Knowing Subjects: Cognitive Cultural Studies and Early Modern Spanish LiteratureTable of ContentsList of Illustrations A Note on Translations Introduction Space and the Imperial Appropriation of the Past in the Lopian comedia “Que los reyes nunca están lejos”: Empire and Metatheatricality in El mejor alcalde, el rey Born to Expand: Space, Figura, and Empire in Las famosas asturianas Endangered from Within: Space and Difference in Las paces de los reyesy judía de Toledo Atlantic Conquests, Transatlantic Echoes: Space, Gender, and Dietetics in Los guanches de Tenerife y conquista de Canaria Conclusion Acknowledgments Bibliography Index
£32.30
Bucknell University Press,U.S. Space, Drama, and Empire: Mapping the Past in
Book SynopsisSpanish poet, playwright, and novelist Félix Lope de Vega (1562–1635) was a key figure of Golden Age Spanish literature, second only in stature to Cervantes, and is considered the founder of Spain’s classical theater. In this rich and informative study, Javier Lorenzo investigates the symbolic use of space in Lope’s drama and its function as an ideological tool to promote an imagined Spanish national past. In specific plays, this book argues, historical landscapes and settings were used to foretell and legitimize the imperial present in Hapsburg Spain, allowing audiences to visualize and plot, as on a map, the country’s expansionist trajectory throughout the centuries. By focusing on connections among space, drama, and empire, this book makes an important contribution to the study of literature and imperialism in early modern Spain and equally to our understanding of the role and political significance of spatiality in Siglo de Oro comedia.Trade Review“A fascinating and original study of space showing how theater has the unique potential to function as the ultimate vehicle to explore and, more importantly, complicate matters of our past.”— Esther Fernández, author of To Embody the Marvelous: The Making of Illusions in Early Modern Spain “Lorenzo offers a wealth of insights to better understand a corpus of plays that Lope de Vega devised from the heights of artistic sophistication and popular acclaim. Lorenzo’s vivid, clear analysis retraces Lope’s steps as he reworks chronicles, myths, and maps depicting Iberia’s patchwork medieval realms for his own times, with a keen eye and well-tuned ear on the imperatives of Spain’s diverse, far-flung empire. Space, Drama, and Empire is a boon for scholars and students alike.”— Elizabeth Wright, author of The Epic of Juan Latino: Dilemmas of Race and Religion in Renaissance Spain “An eye-opening examination of Golden Age theater focusing on how Lope de Vegas’s plays use symbolic and ideological space, prefigure an imperial present (and future), and legitimize imperial expansion and territorial appropriation.”— Antonio Sánchez Jiménez, author of Lope: El verso y la vida “Lorenzo’s analysis of the representation of geographical space in Lope’s historical dramas provides compelling new insights concerning the reconfiguration of iconic episodes from Spain’s medieval past as imperial or proto-imperial episodes. Of particular interest is the way that Lorenzo identifies absolutist and imperialist undertones in plays that feature the peripheral provincial settings of Galicia, Asturias, and Las Canarias as prefigurations of early modern colonialism.”— Barbara Simerka, author of Knowing Subjects: Cognitive Cultural Studies and Early Modern Spanish LiteratureTable of ContentsList of Illustrations A Note on Translations Introduction Space and the Imperial Appropriation of the Past in the Lopian comedia “Que los reyes nunca están lejos”: Empire and Metatheatricality in El mejor alcalde, el rey Born to Expand: Space, Figura, and Empire in Las famosas asturianas Endangered from Within: Space and Difference in Las paces de los reyesy judía de Toledo Atlantic Conquests, Transatlantic Echoes: Space, Gender, and Dietetics in Los guanches de Tenerife y conquista de Canaria Conclusion Acknowledgments Bibliography Index
£107.20
53rd State Press Particle and Wave: A Conversation
Book SynopsisIn a roving, shimmering conversation that took place in May 2021, scholar, poet, and activist Alexis Pauline Gumbs and playwright, songwriter, performance artist, and educator Daniel Alexander Jones discuss love as a foundational principle of artistic practice and societal change. Reflecting on Love Like Light, Daniel Alexander Jones's collection of seven plays and performance texts (published by 53rd State in July 2021), DAJ and APG illuminate the ways in which an attention to care, community, nuance, invitation, perceptual particularities, and embodied conditions can resist the profoundly extractive context in which life is lived and art is made. As they discuss the work of Audre Lorde, Billie Holiday, Beah Richards, Bayard Rustin, and Malcolm X, as well as that of DAJ's grandma Daisy Mae and APG's grandmother, aunt, and niece, DAJ and APG propose that love, like light, suffuses everything, and that love, like light, creates a field in which transformation, justice, healing, and radical beauty are not just possible—they are already, now.
£12.53
Aurora Metro Publications The Trial, Metamorphosis, In the Penal Colony:
Book SynopsisThree distinctive adaptations from a master of total theatre, Steven Berkoff fuses all the elements of drama together in a whole theatrical experience. Combining movement and mime with text to achieve a heightened dramatic intensity, Berkoff takes Kafka's stories and transforms them into a powerful dramatic expression of the inhumanity which plagued the twentieth century and continues unchecked today.Trade Review"Berkoff has a master's ear for vocabulary and rhythm. Everything is heightened - physically, emotionally, intellectually... There's so much to work with and draw from." - Theatre Weekly; "Throughout the play, you find yourself relating to both Gregor, as the one being isolated, but also to his family members who are the cause of that. That makes the show eerily relatable, and it's this quality that allows you to ponder the topic on a deeper level." - everything-theatre.co.uk; "The totality of alienation was stressed through the theatre of shadows. [The family's] greed and stupidity were the forces that concealed, distorted and destroyed what was essential in human nature." - Theatre JournalTable of ContentsSteven Berkoff Author biography Bibliography of Steven Berkoff Foreword by Cheryl Robson preface to The Trial by Steven Berkoff The Trial by Franz Kafka adapted for the stage by Steven Berkoff preface to Metamorphosis by Steven Berkoff Metamorphosis by Franz Kafka adapted for the stage by Steven Berkoff preface to In the Penal Colony by Steven Berkoff In the Penal Colony by Franz Kafka adapted for the stage by Steven Berkoff Steven Berkoff Awards
£14.24
Esse Publishing The Quotation Bank: King Lear A-Level Revision
Book SynopsisFocusing on the core assessment objectives for A-Level English Literature, The Quotation Bank takes 25 of the most important quotations from the text and provides detailed material for each quotation, covering interpretations, literary techniques and detailed analysis. Furthermore, The Quotation Bank A-Level Guides analyse 10 essential critical quotations to utilise in your own essays. Also included are detailed contextual materials, revision activities and a comprehensive glossary of relevant literary terminology, all in a clear and practical format to enable effective revision and ultimate exam confidence.Table of ContentsHow The Quotation Bank can help you in your exams; How to use The Quotation Bank; Act One; Act Two; Act Three; Act Four; Act Five; Critical and Contextual Quotations; How to revise effectively; Performance History; Suggested revision activities; Glossary.
£8.17
Esse Publishing The Quotation Bank: Death of A Salesman Revision
Book SynopsisFocusing on the core assessment objectives for A-Level English Literature, The Quotation Bank takes 25 of the most important quotations from the text and provides detailed material for each quotation, covering interpretations, literary techniques and detailed analysis. Furthermore, The Quotation Bank ALevel Guides analyse 10 essential critical quotations to utilise in your own essays. Also included are detailed contextual materials, revision activities and a comprehensive glossary of relevant literary terminology, all in a clear and practical format to enable effective revision and ultimate exam confidence.Table of ContentsHow The Quotation Bank can help you in your exams; How to use The Quotation Bank; Act One; Act Two; Requiem; Critical and Contextual Quotations; How to revise effectively; Performance History; Suggested revision activities; Glossary.
£8.17
Sydney University Press Ambivalent Macbeth
Book SynopsisMacbeth is often read in a singular fashion: either as a cautionary morality tale warning against ambition, or as a psychological study of evil. In Ambivalent Macbeth, renowned Shakespeare scholar R.S. White argues that these differing readings result from a profoundly ambivalent play, and that this quality is a clue to its greatness.White explores how radical ambivalence permeates the atmosphere, imagery, themes and characterisation of 'the Scottish play'. He considers Shakespeare's historical context and source material, and examines key cinematic, theatrical and other adaptations of the play. Throughout, he argues that an open-minded acceptance of ambivalence can inspire a multitude of readings, and that this complexity helps to explain the play's intriguing longevity.Trade Review'Having seen two Macbeths already this year ... I was glad to have this exploration of why it is so perennially reinterpretable. ... It is informed, too, by his work for the Centre for the History of Emotions, resulting in a fine discussion of the characters' emotional worlds. Other highlights are the account of the problematics of blending pro-Scot and pro-English sources and of the play's insistence on the numbers two and three; the performance history; and a revisiting of the almost lost art of the study of Shakespeare's imagery.' -- Lisa Hopkins -- Times Higher Education'For White, Shakespeare poses open and problematic questions, and insists our answers must be indeterminate and inconclusive. [White] goes further to suggest that this is the essence of the quality of the play.' -- Barry Gillard -- The Australian'[A demonstration of] White's hope for this work to provide 'suggestions which other scholars might take up' ... Ambivalent Macbeth helpfully foregrounds the many questions that Macbeth raises and certainly prompts further research.' -- Michael Cop -- Parergon'Themed chapters treat an impressive array of topics, including sources, scholarship, character and emotion, time, equivocation, evil, imagery, and dramatic history.' -- Ellen Mackay -- Studies in English Literature 1500-1900Table of ContentsPreface and acknowledgements Prologue: sinners as heroes 1. Contexts of ambiguity: text, sources, history 2. 'Fair is foul and foul is fair': the radical ambivalence of Macbeth 3. 'Nothing is but what is not': emotional worlds of characters in Macbeth4. 'The seeds of time' and the Macbeths5. 'Palter with us in a double sense': leading ideas - temptation, equivocation, evil6. 'This is the very painting of your fear': imagery and the emotional world of Macbeth7. Macbeth on stage and screen Bibliography Index
£18.00
Wilfrid Laurier University Press Reliving the Trenches: Memory Plays by Veterans
Book SynopsisIn Reliving the Trenches, three plays written by returned soldiers who served in the Great War with the Canadian Expeditionary Force in France and Belgium appear in print for the first time. With a critical introduction that references the author's service files to establish the plays as memoirs, these plays are an important addition to Canadian literature of the Great War.Important but overlooked war memoirs that relive trench life and warfare as experienced by combat veterans, the three plays include The P.B.I., written and staged in 1920 by recently returned veterans at the University of Toronto. Parts of this play appeared in print in serial form in 1922. Glory Hole, written in 1929 by William Stabler Atkinson, and Dawn in Heaven, written and staged in Winnipeg in 1934 by Simon Jauvoish, have never been published. These plays impact Canadian literature and theatre history by revealing a body of previously unknown modernist writing, and they impact life writing studies by showing how memoirs can be concealed behind genre conventions. They offer fascinating details of the daily routines of the soldiers in the trenches by bringing them back to life in theatrical re-enactment.Table of Contents 1. Critical and Historical Introduction 2. Editorial Principles 3. Introduction to The P.B.I. 5. The P. B. I., or, Mademoiselle of Bully Grenay by H. B. Scudamore, H.W. Downie W.L. McGeary and H.R. Dillon 6. Introduction to Glory Hole 7. Glory Hole: A Play of 1914-18 by William Stabler Atkinson 8. Introduction to Dawn In Heaven 9. Dawn In Heaven by Simon Jauvoish Appendix One: The P.B.I. Program Appendix Two: War Service of The P.B.I. Authors and Cast Appendix Three: 'A Canadian Volunteer's Last Prayer,' a poem by Simon Jauvoish Works Cited
£69.30
Guernica Editions,Canada Remembering Shakespeare Volume 68: The Scope of
Book SynopsisThe longstanding challenge and problem of living through tragedy, as opposed to living beyond it or simply carrying on in spite of it, is highlighted in this extensive and in-depth scholarly study. Shakespeare was able to live through tragedy and consequently could come into those higher evolutionary states of mind and being, until now so little known, that are so impressively represented in his last plays.Trade Review" rigorous highly pertinent the present book, especially the final chapter, "Prosperos Powers: Shakespeare's Last Phase", is the culmination of a long journey [in O'Mearas study of Shakespeare's work]. The kind of philosophy underlying The Tempest has its present day equivalence in Rudolf Steiner's Anthroposophy, "that process of living further into the 'wisdom' of man" (p.88) which appears to have close links with the Rosicrucian Enlightenment" -- R.W. Desai, 'The Critical Endeavour,' Vol. XXIV, January 2018"the reader will find something provocative in this book [Shakespeares] tragedy is that since his time we have not been instructed by his pains." -- Jonathan Locke Hart 'Renaissance and Reformation', Volume 41, Number 4, Fall, 2018Table of Contents1.Shakespeare's Muse; 2.Otherworldly Hamlet; 3.Othello's Sacrifice; 4.Prospero's Powers.
£16.16
University of Alberta Press Canadian Performance Documents and Debates: A
Book SynopsisCanadian Performance Documents and Debates provides insight into performance activities from the seventeenth century to the early 1970s, and probes important yet vexing questions about Canada as a country and a concept. The volume collects playscripts and archival material to explore what these documents tell us about the values, debates, and priorities of artists and their audiences from the past 400 years. Analyses throughout rethink the significance of theatre, dance, opera, circus, and other performance genres and events. This landmark collection challenges readers to reconsider Canadian theatre and performance history. Foreword by Jerry Wasserman. Contributors: Clarence S. Bayne, Kym Bird, Justin A. Blum, Amy Bowring, Jill Carter, Jenn Cole, Cynthia Cooper, Heather Davis-Fisch, Moira J. Day, Ray Ellenwood, Alan Filewod, Howard Fink, Liza Giffen, J. Paul Halferty, James Hoffman, Erin Hurley, John D. Jackson, Stephen Johnson, Sasha Kovacs, Sylvain Lavoie, Louis Patrick Leroux, Allana C. Lindgren, Denyse Lynde, Erin Joelle McCurdy, Wing Chung Ng, Glen F. Nichols, M. Cody Poulton, VK Preston, Daniel J. Ruppel, Jordan Stanger-Ross, Paul J. Stoesser, Christl Verduyn, Anthony J. Vickery, Anton WagnerTrade Review“Through the invaluable service of gathering together the breadth of crucial texts and materials addressed in its exploratory essays, Canadian Performance Documents and Debates creates, defines, and shapes the very subject of Canadian performance.” Shelley Scott, Professor, University of Lethbridge“Canadian Performance Documents and Debates reflects profoundly upon conceptualizations of Canadian identity and upon debates over the role of the arts in the formation of that identity: both vital questions for us to understand more deeply as we strive to move towards reconciliation and a more just, equitable, and compassionate society.” Roberta Barker, Associate Professor, Dalhousie University“A gargantuan undertaking by the editors and publisher, [Canadian Performance Documents and Debates] is highly informative, engaging, and enlightening with extremely high-quality editing. Considering the wide variety of themes, genres, and materials included, the designer did a fantastic job ensuring the content is manageable and easy to navigate.” Jury comments, 2023 Alberta Book Publishing Awards"Canadian Performance Documents and Debates: A Sourcebook undeniably fills a gap in resources for the Canadian performance history community through its unique content. The collection is aptly titled A Sourcebook as it spans four centuries, containing carefully considered content in which the compilation juxtaposes new publications and fresh points of view with previously available Canadian performance history materials. The text distinguishes itself as an accessible resource with the inclusion of a thematic Table of Contents which uses resonant and relevant categories, including race and gender, and allows a reader to hone in on topic(s) related to their interests. This organizational format contextualizes the contents and sutures the events and documents in time and place while putting them in conversation with one another…. Racism in performance is a thread that runs through many of the chapters, and the accumulation of these examples reifies a vivid tapestry illustrating Canada’s settler colonial relations.” Tanya Berg, Theatre Research in Canada, 2023 (Full review at DOI: 10.3138/tric-2023-0027)Table of ContentsAcknowledgments Introduction | Sandeep Agrawal I THE RIGHT TO THE CITY 1 | Whose Right to What City? Indigenous Rights amidst Claims for Constitutionally Empowered Cities | Alexandra Flynn 2 | The Right to the City as an Emerging Norm: Codification and Cultural Institutions | Jennifer A. Orange II RIGHTS IN THE CITY 3 | Human Rights and the City in the Pre-Charter Era | Sandeep Agrawal 4 | Group Rights and Collective Rights: What Are They and How Do They Affect Urban Issues? | Sandeep Agrawal & Eran S. Kaplinsky 5 | Human Rights and Canadian Municipalities | Sandeep Agrawal 6 | Becoming a Human Rights City: Lessons from Edmonton | Renée Vaugeois III OTHER RIGHTS IN THE CITY 7 | The Right to Adequate Housing Around the Globe: Analysis and Evaluation of National Constitutions | Michelle L. Oren & Rachelle Alterman 8 | Property Rights and the Canadian City | Eran S. Kaplinsky 9 | The Dangers of Allowing “Othering” Speech in a City’s Public Spaces | Ola P. Malik & Sasha Best Afterword: After Rights? | Benjamin Davy Contributors"
£52.69
Wits University Press Mooi Street and Other Moves
Book SynopsisThis collection of six plays by one of South Africa’s leading playwrights and actors features works written between 1984 and 1993. Slabolepszy is a master of dialogue, capturing the essence of the personality and speech patterns of his protagonists in language that is often dramatic, frequently funny, sometimes tragic and always entertaining.The works included are Under the Oaks, Over the Hill, Boo to the Moon, Smallholding, Mooi Street Moves and The Return of Elvis du Pisanie.Elvis won Slabolespzy the 1992/93 IGI Life Vita Award for Play of the Year and, together with Mooi Street Moves, gained him the Vita Playwright of the Year award.This collection is introduced by Robert Greig, a well-known theatre critic, and by Bobby Heaney, who has been involved in the evolution of several of Slabolepszy’s plays.Table of ContentsGlossary Introduction - Robert Greig Bringing Page to Stage – Bobby Heaney Under the Oaks Over the Hill Boo to the Moon Smallholding Mooi Street Moves The Return of Elvis du Pisanie
£14.25
Bloomsbury Publishing PLC No Laughing Matter: Studies in Athenian Comedy
Book SynopsisNo Laughing Matter is a wide-ranging collection of new studies of the comic theatre of Athens, from its origins until the 340s BCE. Fifteen international scholars employ an array of approaches and methodologies that will appeal to Classics and Theatre scholars while still remaining accessible to students. By including discussions of fragmentary authors alongside Aristophanes, the collection provides a broad understanding of the richness of Athenian comedy. The collection showcases the best of the new scholarship on Old and Middle Comedy, using the most up-to-date texts and tools. No Laughing Matter has been prepared in tribute to Professor Ian Storey of Trent University (Peterborough, Ontario), whose work on Athenian comedy will continue to shape scholarship for many years to come.Table of ContentsIntroduction - George Kovacs and C.W. Marshall Part I: Comedy and Athens 'From the Wagons', 'Parade Abuse' and the Ritual Context of Old Comic Invective - Eric Csapo (University of Sydney) Was Crates Criticizing Philosophy? The Case of the Thêria - David Konstan (Brown University) Will the Real Socrates Please Stand Up? - Hallie Rebecca Marshall (University of British Columbia) From Paracomedy to Metacomedy: Storey versus Sidwell on the Interaction between Aristophanes and Eupolis - - Keith Sidwell (University College, Cork/University of Calgary) Father-beaters and Avian Justice in Aristophanes' Birds - Judith Fletcher (Wilfred Laurier University) Politics and the City in Aristophanes' Lysistrata - S. Douglas Olson (University of Minnesota) Playing on Remorse: Arginousai, Theramenes and Aristophanes' Frogs - Arlene Allan (University of Otago) Part II: Comedy and Tragedy Pursuing Nemesis: Cratinus and Mythological Comedy - Jeff Henderson (Boston University) The Paratragic Muse: Aristophanes and Genre - Greg Dobrov (Loyola University of Chicago) The Eleusinian Mysteries and the Public Status of Comedy in Aristophanes' Frogs - Donald Sells (University of Toronto) Notes on Aristophanes' Frogs - Alan Sommerstein (University of Nottingham) The Slave's Tale: Cario's Narrative in Aristophanes' Wealth - Robert Tordoff (York University) Axionicus, The Euripides Fan - Elizabeth Scharffenberger (Columbia University) Timocles fr. 6 and the Consolations of Tragedy - Ralph M. Rosen (University of Pennsylvania) Index
£40.84
Benediction Books Much Ado About Nothing
Book Synopsis
£7.60
Fonthill Media Ltd William Shakespeare, the Wars of the Roses and
Book SynopsisFor historians of the Wars of the Roses William Shakespeare is both a curse and a blessing: a curse because he immortalized Tudor spin on fifteenth-century civil wars that helped justify Elizabeth I's occupation of the English throne; a blessing because, without Shakespeare's 8 -play Plantagenet history cycle, hardly anyone beyond specialists in the history of the period would know of their existence. Moreover, no mere historian will ever paint a more compelling and dramatic picture of England's Lancastrian and Yorkist kings, and the Wars of the Roses, than William Shakespeare.The book begins with an examination of the context, content and significance of each of the plays from Richard 2nd to Richard 3rd, and then considers the contemporary, near-contemporary and Tudor sources on which Shakespeare drew; how such authors chose to present 15th Century kings, politics and society; and in what ways historians since Shakespeare have sought to reinterpret the Wars of the Roses era. The book ends with a retrospective assessment of Shakespeare's Plantagenet plays, both in performance and as a result of their impact on historical writing.The Plays: Richard II, Henry IV Parts 1 and 2, Henry V, Henry VI Parts I1, 2 and 3 and Richard III.Table of ContentsAcknowledgements; Genealogy; Introduction; 1 William Shakespeare, the Later Plantagenet Kings and the Wars of the Roses; 2 Richard II, Henry IV and the Establishment of the Lancastrian Dynasty; 3 Henry V, Henry VI and the Hundred Years War; 4 Henry VI, Richard of York and the Wars of the Roses; 5 Edward IV, Warwick the Kingmaker and the Wars of the Roses; 6 Richard III, Henry VI and the Wars of the Roses; 7 Tudor Historians and the Wars of the Roses; 8 The Wars of the Roses in Stuart and Hanoverian Times; 9 The Victorians and the Wars of the Roses; 10 Twentieth-Century Historians and the Wars of the Roses; 11 William Shakespeare's Plantagenet History Plays in Perspective; Bibliography; Index.
£15.29
Cork University Press Setting the Stage: Transitional playwrights in
Book SynopsisThere was no native tradition of theatre in Irish. Thus, language revivalists were forced to develop the genre ex nihilo if there was to be a Gaelic drama that was not entirely made up of translations. The earliest efforts to do so at the beginning of the 20th century were predictably clumsy at best, and truly dreadful at worst. Yet by the 1950s, a handful of Gaelic playwrights were producing plays in Irish worthy of comparison not only with those by their Irish contemporaries working in English but also with drama being produced elsewhere in Europe as well as in North America. Obviously, Gaelic drama transitioned with surprising speed from what one early critic called 'the Ralph Royster Doyster Stage' to this new level of sophistication. This book argues that this transition was facilitated by the achievements of a handful of playwrights - Piaras Beaslai, Gearoid O Lochlainn, Leon O Broin, Seamus de Bhilmot, and Walter Macken - who between 1910 and 1950 wrote worthwhile new plays that dealt with subjects and themes of contemporary interest to Irish-speaking audiences, in the process challenging their fellow dramatists, introducing Gaelic actors to new developments and styles in world theatre, and educating Gaelic audiences to demand more from theatre in Irish than a night out or a chance to demonstrate their loyalty to the revivalist cause. This book, which discusses in some detail all of the extant plays by these five transitional playwrights, fills a gap in our knowledge of theatre in Irish (and indeed of theatre in Ireland in general), in the process providing clearer context for the appreciation of the work of their successors, playwrights who continue to produce first-rate work in Irish right to the present day.
£31.50
Cork University Press The Art and Ideology of Terence MacSwiney: Caught
Book Synopsis
£31.50
Canongate Books Hamlet: Globe to Globe: 193,000 Miles, 197
Book SynopsisNEW YORK TIMES 100 NOTABLE BOOKS OF 2017Over two full years, Dromgoole, the Artistic Director of the Shakespeare's Globe Theatre, and the Globe players toured all seven continents, and almost 200 countries, performing the Bard's most famous play. They set their stage in sprawling refugee camps, grand Baltic palaces and heaving marketplaces - despite food poisoning in Mexico, an Ebola epidemic in West Africa and political upheaval in Ukraine. Hamlet: Globe to Globe tells the story of this unprecedented theatrical adventure, in which Dromgoole shows us the world through the prism of Shakespeare's universal drama, and asks how a 400-year-old tragedy can bring the world closer together.Trade ReviewRichly entertaining . . . His love of language is contagious . . . the storytelling segues into scholarship with extraordinary skill from the off as he ricochets the modern world with a 400-year-old text * * The Times * *Taking in sandblown refugee camps, the hallucinatory effects of performing with chronic food poisoning in Mexico City and the politically-charged atmosphere of an auditorium in Ukraine on an election's eve, it is an entertaining, moving and informative read * * Evening Standard * *Dromgoole's witty account offers insight about the play and its enduring appeal * * New York Times, 100 Notable Books of 2017 * *Full of life lessons . . . Erudite and fascinating . . . There's a real sense of the camaraderie and sheer fun of assembling a company and, quite literally, putting the show on wherever they can . . . The universal themes explored in the play take on a new and thrilling resonance, as the actors learn as much from their audiences as vice versa . . . Truly compelling * * Observer * *A delightfully idiosyncratic account of the Globe's vagabond mission to perform Hamlet in every country in the world . . . the joy of the book is Dromgoole's gusto . . . the way he meanders from personal anecdote to wider textual or cultural significance makes his book feel like a shaggy-dog documentary that you just don't want to end **** * * Daily Telegraph * *Compulsively readable * * New York Times * *Delivers sharp insights into a play Dromgoole has spent a lifetime turning over in his mind * * Guardian * *This deeply humane, consistently enthralling account of a theatrical odyssey encompasses travelogue and literary criticism, theatre history and introspective narrative, political commentary and philosophical reflection with beguiling readability -- Sir Stanley WellsDominic Dromgoole's recounting of the Globe Theatre's exhausting global tour of Hamlet is exhilarating. The playing company's intrepid journey around the world - performing Hamlet's own troubled journey - succeeds in making the familiar unfamiliar and enables in turn a deeply illuminating journey into the play itself. -- James Shapiro, author of 1599 and 1606An epic journey which explores how a 400-year-old play can help to make sense of the modern world * * Sunday Post * *Fascinating * * Spectator * *Dromgoole and his company belong in the ancient tradition of strolling players - quick-witted and wise, generous, hard-drinking and open. His book is written in that spirit. It is bold and excited, hopeful, dashing . . . By the time we reach the final show back on London's Southbank, it is a wrench to part his company * * Financial Times * *Irresistible . . . a comic epic -- Gary Taylor * * Washington Post * *The tireless Dromgoole goes on a journey that would kill most of us, and connects our greatest poet to every corner of the human experience. Utterly extraordinary -- Emma ThompsonThis is an amazing story about a bold and eye-popping journey. I loved it. Dominic Dromgoole writes about Shakespeare and touring the globe the way he ran The Globe - with passion, insight, relish and irresistible humour -- Sir Nicholas Hytner, The Artistic Director of London’s National TheatreCompelling . . . proving, as Dromgoole had hoped, that this powerful tragedy not only has the ability to transcend time but to cross borders as well * * National Geographic * *In Dromgoole's breakneck journey from a retractable-roof theater in Poland to a crammed cream-and-gold palace in Peru to a sweltering, bat-infested auditorium in Cambodia, the narrative covers an astonishing swath of world-girdling geography . . . No chronicle ever gave more compelling meaning to Shakespeare's conviction that 'all the world's a stage' * * Booklist * *[A] thoroughly enjoyable and charming story . . . Besides detailing the two-year tour itself, it's a story of the play, its themes and language, famous past players, and how it has been performed and received over the years . . . Sly, witty, and delightful - a glorious Shakespearean romp * * Kirkus Reviews (starred review) * *Dromgoole is wise and witty; thoughtful, self-assured, even cocky . . . But he is never dull. His mission was to bring Hamlet to the world to show that Hamlet is the world, and he succeeded admirably. A wide readership, not just Shakespeare buffs and scholars, can enjoy this book * * Publishers Weekly * *Praise for WILL AND ME:'An absolute delight . . . utterly original and relishable' * * Sunday Times * *Friendly, inclusive, I warmed to it immediately . . . A terrific book * * Evening Standard * *Superb . . . thrillingly entertaining . . . throbs with vigour, honesty and passion * * Daily Telegraph * *Dromgoole is to the bard what Nick Hornby is to football * * Sunday Telegraph * *A record of a lifelong obsession - articulate, intelligent and passionately set down . . . Dromgoole's enthusiasm has a sincerity and warmth that are infectious * * Observer * *Irresistibly seductive * * Independent on Sunday * *
£11.69
