Literary studies: plays and playwrights Books

Book SynopsisThis is a unique introduction to Greek tragedy that explores the plays as dramatic artifacts intended for performance and pays special attention to construction, design, staging, and musical composition.Trade Review"A remarkable guide to recapturing the sights and sounds of Greek tragedy. David Raeburn draws on his long experience as teacher, translator and director to show in detail how a selection of famous plays can be studied – in English or the original Greek – as scripts for performance. He has plenty of thought-provoking discussion of the stage action to offer, and a special feature is his guidance on the rhythms of the original poetry, especially the choral lyrics, with audio recordings easily accessible online." - Pat Easterling, Cambridge University (Emeritus Regius) "An invaluable book written with love and detailed understanding. It is based on a lifetime’s unique experience of producing each of these classical plays as a teacher and scholar at the highest level, therefore without equal in its field. Again and again Raeburn sees what these plays need for their staging and interpretation, largely because he has faced the challenge of putting them on the stage, whereas most classical commentators have not. He goes clearly and concisely to the heart of them in a style which all who read,produce, or have to study them will appreciate. A landmark both for our theatres’ actors and directors and for those in schools and universities who want to be taken to the central issues of each play and the ways in which character, speech, movement, and setting interrelate." - Robin Lane Fox, Oxford UniversityTable of ContentsPreface ix About the Companion Website xi 1 Introduction 1 2 Aeschylus 15 3 Persae 21 4 The Oresteia 33 5 Sophocles 81 6 Antigone 87 7 Oedipus Tyrannus 105 8 Electra (Sophocles) 123 9 Euripides 137 10 Medea 143 11 Electra (Euripides) 157 12 Bacchae 173 Appendix A: Glossary of Greek Tragic Terms 189 Appendix B: Rhythm and Meter 191 Index 195

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Book SynopsisThis is a unique introduction to Greek tragedy that explores the plays as dramatic artifacts intended for performance and pays special attention to construction, design, staging, and musical composition.Table of ContentsPreface ix About the Companion Website xi 1 Introduction 1 2 Aeschylus 15 3 Persae 21 4 The Oresteia 33 5 Sophocles 81 6 Antigone 87 7 Oedipus Tyrannus 105 8 Electra (Sophocles) 123 9 Euripides 137 10 Medea 143 11 Electra (Euripides) 157 12 Bacchae 173 Appendix A: Glossary of Greek Tragic Terms 189 Appendix B: Rhythm and Meter 191 Index 195

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Book SynopsisDiscover an invigorating new perspective on the life and work of William Shakespeare TheLife of the Author: William Shakespearedeliversa fresh and exciting new take on the life of William Shakespeare,offeringreaders a biography that brings to the foreground his working life as a poet, playwright, and actor. It also explores the nature of his relationships with his friends, colleagues, and family, and asks important questions about the stories we tell about Shakespeare based on the evidence we actually have about the man himself. The book is written using scholarly citations and references,but with anapproachable style suitable for readers with little or no background knowledge of Shakespeare or the era in which he lived.TheLife of the Author: William Shakespeareasksprovocativequestions about the playwright-poet's preoccupation with gender roles and sexuality, and explores why it is so challenging toascertain hispolitical and religiousTable of ContentsAcknowledgments vi Prologue viii Chapter One 1 Chapter Two 14 Chapter Three 31 Chapter Four 49 Chapter Five 69 Chapter Six 87 Chapter Seven 106 Chapter Eight 129 Notes 149 References 160 Index 170

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Book SynopsisThis clear and succinct book is designed for general readers who want to know how to go about reading Shakespeare's works for pleasure.Trade Review"In just a few pages, the author manages to unearth the full richness of the Bard, opening the reader's mind and asking questions rather than providing glib, easy answers. This is a terrific beginner's volume for the novice English literature student tasked with studying the works of William Shakespeare, and a valuable re-entry point for the intermediate Shakespeare reader looking for additional analytical methods." (Simply Shakespeare, November 2009) "The first chapter is a fabulous, full-frontal, thirteen-page assault that both dispenses information and suggests effective questions that student readers might employ when reading a text in order to 'read aggressively' (p. 9). What is mildly revolutionary is that it is here, in print, ready to be easily disseminated to students and thus to more easily and readily articulate the type of engagement with a text that we hope and expect our students will undertake. Bevington challenges his readers to think in historical, theatrical, and characterological terms. Bevington's list is instructive and at times brutally honest. Schools should consider investing heavily in this text for the benefit of their pupils; college or university-level students would also be aided by Bevington's straightforward, avuncular reading advice." (Year's Work in English Studies, 2008)Table of ContentsList of Illustrations. 1. How to Read a Shakespeare Play. 2. A Midsummer Night’s Dream. 3. Romeo and Juliet. 4. Henry the Fourth, Part I. 5. Hamlet. 6. King Lear. 7. The Tempest. 8. Epilogue. Further Reading. Index

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Book SynopsisThe extended second edition of this inspiring introduction to Shakespeare offers readers more insights into what makes Shakespeare great, and why we still read and perform his works. A highly innovative introduction to the extraordinary phenomenon of Shakespeare Explores Shakespeares works through the Seven Ages of Man, from childhood to second childishness and mere oblivion Now includes more material on fathers and sons, the perils of courtship, the circumstances of Shakespeares own life, the performance history of his plays on stage and on screen, and more A new final chapter on Shakespeare Today looks at the remarkable diversity of interpretations in modern criticism and performance of Shakespeare Discusses a wide range of plays and poTrade Review"David Bevington’s knowledge of Shakespeare is formidable. In this wonderful new book, Bevington uses the “seven ages of man” speech from As You Like It to weave together Shakespeare’s plays and poems with what is known of Shakespeare’s life." Barbara Mowat, Folger Shakespeare Institute [of the first edition] "This is a book from […] one of the great Shakespeare scholars of his generation. The book is well-written, at once lively and learned, engaging and informative. It is perfectly designed to help non-specialist readers enjoy Shakespeare's plays better and yet it is also rich with insights that will challenge the specialist reader." David Scott Kastan, Columbia University [of the first edition] "Recommended for all public and academic libraries in need of fresh introductory materials on Shakespeare." Library Journal [of the first edition] "Essential. A must for lower- and upper-division undergraduates; a pleasure for graduate students through faculty and for general readers." Choice [of the first edition] "[This book] is sensible and persuasive in its linking of criticism and biography. Its primary audience is students, who will find the treatments of individual plays excellent as stand-alone studies as well as part of a larger argument." English Association Journal for Teachers of English "Objective and personal, too, the book is likely to be useful for long to come" Notes and Queries Table of ContentsList of illustrations. To the Reader. 1 All the World’s a Stage: Poetry and Theatre. 2 Creeping Like Snail: Childhood, Education, Early Friendship, Sibling Rivalries. 3 Sighing Like Furnace: Courtship and Sexual Desire. 4 Full of Strange Oaths and Bearded Like the Pard: The Coming-of-Age of the Male. 5 Jealous in Honour: Love and Friendship in Crises. 6 Wise Saws: Political and Social Disillusionment, Humankind’s Relationship to the Divine, and Philosophical Scepticism. 7 Modern Instances: Misogyny, Jealousy, Pessimism, and Midlife Crises. 8 The Lean and Slippered Pantaloon: Ageing Fathers and their Daughters. 9 Last Scene of All: Retirement from the Theatre. 10 Shakespeare Today. Notes. Further Reading. Index

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Book SynopsisHOW TO DO THINGS WITH SHAKESPEARE HOW TO DO THINGS WITH SHAKESPEARE This is a companion to Shakespeare with a difference. Vive la différance! DAVID BEVINGTON, UNIVERSITY OF CHICAGO Doing things with literature: scholarly articles are not the only way to go. Aristotle uses a lecture, Horace a letter, Sidney a mock oration. Laurie Maguire and the contributors to this book engage in a genial conversation that invites students in. Like all good conversations, this one admits first-person candor, keeps things lively by changing the subject five times, welcomes disagreements, and waits for what the reader-listener is going to do in response. BRUCE SMITH, UNIVERSITY OF SOUTHERN CALIFORNIA, LOS ANGELESTrade Review"The contributors to Laurie Maguire's book show by doing.... They are unusually present in what they write, speaking directly to their presumed student readers. This is in some ways the sort of writing we associate with school textbooks, and it is all the better for that." (Times Literary Supplement, October 2008)Table of ContentsNotes on Contributors. Introduction: Laurie E. Maguire (Magdalen College, University of Oxford). Part I How To Do Things with Sources. 1. French Connections: The Je-Ne-Sais-Quoi in Montaigne and Shakespeare: Richard Scholar (Oriel College, Oxford). 2. Romancing the Greeks: Cymbeline’s Genres and Models: Tanya Pollard (Brooklyn College, City University of New York). 3. How the Renaissance (Mis)Used Sources: The Art of Misquotation: Julie Maxwell (Lucy Cavendish College, Cambridge). Part II How To Do Things with History. 4. Henry VIII, or All is True: Shakespeare’s “Favorite” Play: Chris R. Kyle (Syracuse University). 5. Catholicism and Conversion in Love’s Labour’s Lost: Gillian Woods (Wadham College, Oxford). Part III How To Do Things with Texts. 6. Watching as Reading: The Audience and Written Text in Shakespeare’s Playhouse: Tiffany Stern (University College, Oxford). 7. What Do Editors Do and Why Does It Matter?: Anthony B. Dawson (University of British Columbia). Part IV How To Do Things with Animals. 8. “The dog is himself”: Humans, Animals, and Self-Control in The Two Gentlemen of Verona: Erica Fudge. (Middlesex University). 9. Sheepishness in The Winter’s Tale: Paul Yachnin (McGill University). Part V How To Do Things with Posterity. 10. Time and the Nature of Sequence in Shakespeare’s Sonnets: “In sequent toil all forwards do contend”: Georgia Brown (independent scholar). 11. Canons and Cultures: Is Shakespeare Universal? : A. E. B. Coldiron (Florida State University). 12. “Freezing the Snowman”: (How) Can We Do Performance Criticism?: Emma Smith (Hertford College, Oxford). Index

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Book SynopsisHOW TO DO THINGS WITH SHAKESPEARE HOW TO DO THINGS WITH SHAKESPEARE This is a companion to Shakespeare with a difference. Vive la différance! DAVID BEVINGTON, UNIVERSITY OF CHICAGO Doing things with literature: scholarly articles are not the only way to go. Aristotle uses a lecture, Horace a letter, Sidney a mock oration. Laurie Maguire and the contributors to this book engage in a genial conversation that invites students in. Like all good conversations, this one admits first-person candor, keeps things lively by changing the subject five times, welcomes disagreements, and waits for what the reader-listener is going to do in response. BRUCE SMITH, UNIVERSITY OF SOUTHERN CALIFORNIA, LOS ANGELESTrade Review“Maguire … does not seek to force the essays into convenient (and conventional) critical boxes. Rather, she asks her contributors to open their essays with discussions of the questions and contexts that drove them to pursue their topic and then write about it. Highly recommended.” (Choice Reviews, October 2008)Table of ContentsNotes on Contributors. Introduction: Laurie E. Maguire (Magdalen College, University of Oxford). Part I How To Do Things with Sources. 1. French Connections: The Je-Ne-Sais-Quoi in Montaigne and Shakespeare: Richard Scholar (Oriel College, Oxford). 2. Romancing the Greeks: Cymbeline’s Genres and Models: Tanya Pollard (Brooklyn College, City University of New York). 3. How the Renaissance (Mis)Used Sources: The Art of Misquotation: Julie Maxwell (Lucy Cavendish College, Cambridge). Part II How To Do Things with History. 4. Henry VIII, or All is True: Shakespeare’s “Favorite” Play: Chris R. Kyle (Syracuse University). 5. Catholicism and Conversion in Love’s Labour’s Lost: Gillian Woods (Wadham College, Oxford). Part III How To Do Things with Texts. 6. Watching as Reading: The Audience and Written Text in Shakespeare’s Playhouse: Tiffany Stern (University College, Oxford). 7. What Do Editors Do and Why Does It Matter?: Anthony B. Dawson (University of British Columbia). Part IV How To Do Things with Animals. 8. “The dog is himself”: Humans, Animals, and Self-Control in The Two Gentlemen of Verona: Erica Fudge. (Middlesex University). 9. Sheepishness in The Winter’s Tale: Paul Yachnin (McGill University). Part V How To Do Things with Posterity. 10. Time and the Nature of Sequence in Shakespeare’s Sonnets: “In sequent toil all forwards do contend”: Georgia Brown (independent scholar). 11. Canons and Cultures: Is Shakespeare Universal? : A. E. B. Coldiron (Florida State University). 12. “Freezing the Snowman”: (How) Can We Do Performance Criticism?: Emma Smith (Hertford College, Oxford). Index

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Book SynopsisThis four-volume Companion to Shakespeare''s Works, compiled as a single entity, offers a uniquely comprehensive snapshot of current Shakespeare criticism. Brings together new essays from a mixture of younger and more established scholars from around the world - Australia, Canada, France, New Zealand, the United Kingdom, and the United States. Examines each of Shakespeare's plays and major poems, using all the resources of contemporary criticism, from performance studies to feminist, historicist, and textual analysis. Volumes are organized in relation to generic categories: namely the histories, the tragedies, the romantic comedies, and the late plays, problem plays and poems. Each volume contains individual essays on all texts in the relevant category, as well as more general essays looking at critical issues and approaches more widely relevant to the genre. Offers a provocative roadmap to Shakespeare studies at the dawTrade Review"Whether for the student wishing for an overview of critical approaches or anxious to fill in the gaps in his Shakespearean culture, for those wishing to catch up on the diversity of literary theories, or for the inquisitive browser, this set of volumes assuredly charts the map of current criticism." Cahiers Elisabethains "Those who are intimidated by the publishers' grandiose claim that the set would constitute 'a provocative roadmap to Shakespeare studies at the dawning of the twenty-first century' will breathe a sigh of relief to discover that the essays are not only readable, they are informative and stimulating. Essential." Choice Table of ContentsNotes on Contributors vii Introduction 1 1 “A rarity most beloved”: Shakespeare and the Idea of Tragedy 4David Scott Kastan 2 The Tragedies of Shakespeare’s Contemporaries 23Martin Coyle 3 Minds in Company: Shakespearean Tragic Emotions 47Katherine Rowe 4 The Divided Tragic Hero 73Catherine Belsey 5 Disjointed Times and Half-Remembered Truths in Shakespearean Traged 95Philippa Berry 6 Reading Shakespeare’s Tragedies of Love: Romeo and Juliet, Othello, and Antony and Cleopatra in Early Modern England 108Sasha Roberts 7 Hamlet Productions Starring Beale, Hawke, and Darling From the Perspective of Performance History 134Bernice W. Kliman 8 Text and Tragedy l58Graham Holderness 9 Shakespearean Tragedy and Religious Identity 178Richard C. McCoy 10 Shakespeare’s Roman Tragedies 199Gordon Braden 11 Tragedy and Geography 219Jerry Brotton 12 Classic Film Versions of Shakespeare’s Tragedies: A Mirror for the Times 241Kenneth S. Rothwell 13 Contemporary Film Versions of the Tragedies 262Mark Thornton Burnett 14 Titus Andronicus: A Time for Race and Revenge 284Ian Smith 15 “There is no world without Verona walls”: The City in Romeo and Juliet 303Naomi Conn Liebler 16 “He that thou knowest thine”: Friendship and Service in Hamlet 319Michael Neill 17 Julius Caesar 339Rebecca W. Bushnell 18 Othello and the Problem of Blackness 357Kim F. Hall 19 King Lear 375Kiernan Ryan 20 Macbeth, the Present, and the Past 393Kathleen McLuskie 21 The Politics of Empathy in Antony and Cleopatra: A View from Below 411Jyotsna G. Singh 22 Timon of Athens: The Dialectic of Usury, Nihilism, and Art 430Hugh Grady 23 Coriolanus and the Politics of Theatrical Pleasure 452Cynthia Marshall Index 473

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Book SynopsisThis four-volume Companion to Shakespeare''s Works, compiled as a single entity, offers a uniquely comprehensive snapshot of current Shakespeare criticism. Brings together new essays from a mixture of younger and more established scholars from around the world - Australia, Canada, France, New Zealand, the United Kingdom, and the United States. Examines each of Shakespeare's plays and major poems, using all the resources of contemporary criticism, from performance studies to feminist, historicist, and textual analysis. Volumes are organized in relation to generic categories: namely the histories, the tragedies, the romantic comedies, and the late plays, problem plays and poems. Each volume contains individual essays on all texts in the relevant category, as well as more general essays looking at critical issues and approaches more widely relevant to the genre. Offers a provocative roadmap to Shakespeare studies at the dawTrade Review"Whether for the student wishing for an overview of critical approaches or anxious to fill in the gaps in his Shakespearean culture, for those wishing to catch up on the diversity of literary theories, or for the inquisitive browser, this set of volumes assuredly charts the map of current criticism." Cahiers ElisabethainsTable of ContentsNotes on Contributors. Introduction. 1. The Writing of History in Shakespeare’s England (Ivo Kamps). 2. Shakespeare and Contemporary Dramatists of History (Richard Helgerson). 3. Censorship and the Problems with History in Shakespeare’s England (Cyndia Susan Clegg). 4. Nation Formation and the English History Plays (Patricia A. Cahill). 5. The Irish Text and Subtext of Shakespeare’s English Histories (Willy Maley). 6. Theories of Kingship in Shakespeare’s England (William C. Carroll). 7. "To beguile the time, look like the time": Contemporary Film Versions of Shakespeare’s Histories (Peter J. Smith). 8. The Elizabethan History Play: A True Genre (Paulina Kewes). 9. Damned Commotion: Riot and Rebellion in Shakespeare’s Histories (James Holstun). 10. Manliness Before Individualism: Masculinity, Effeminacy, and Homoerotics in Shakespeare’s History Plays (Rebecca Ann Bach). 11. French Marriages and the Protestant Nation in Shakespeare’s History Plays (Linda Gregerson). 12. The First Tetralogy in Performance (Ric Knowles). 13. The Second Tetralogy: Performance as Interpretation (Lois Potter). 14. 1 Henry VI (David Bevington). 15. Suffolk and the Pirates: Disordered Relations in Shakespeare’s 2 Henry VI (Thomas Cartelli). 16. Vexed Relations: Family, State, and the Uses of Women in 3 Henry VI (Kathryn Schwarz). 17. "The power of hope?" An Early Modern Reader of Richard III (James Siemon). 18. King John (Virginia Mason Vaughan). 19. The King’s Melting Body: Richard II (Lisa Hopkins). 20. 1 Henry IV (James Knowles). 21. Henry IV, Part 2: A Critical History (Jonathan Crewe). 22. Henry V (Andrew Hadfield). Index.

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Book SynopsisThis four-volume Companion to Shakespeare''s Works, compiled as a single entity, offers a uniquely comprehensive snapshot of current Shakespeare criticism. Brings together new essays from a mixture of younger and more established scholars from around the world - Australia, Canada, France, New Zealand, the United Kingdom, and the United States. Examines each of Shakespeare's plays and major poems, using all the resources of contemporary criticism, from performance studies to feminist, historicist, and textual analysis. Volumes are organized in relation to generic categories: namely the histories, the tragedies, the romantic comedies, and the late plays, problem plays and poems. Each volume contains individual essays on all texts in the relevant category, as well as more general essays looking at critical issues and approaches more widely relevant to the genre. Offers a provocative roadmap to Shakespeare studies at the dawning ofTrade Review"Whether for the student wishing for an overview of critical approaches or anxious to fill in the gaps in his Shakespearean culture, for those wishing to catch up on the diversity of literary theories, or for the inquisitive browser, this set of volumes assuredly charts the map of current criticism." Cahiers ElisabethainsTable of ContentsNotes on Contributors. Introduction. 1. Shakespeare s Sonnets and the History of Sexuality: A Reception Hisotry: Bruce R. Smith. 2. The Book of Changes in a Time of Change: Ovid s Metamorphoses in Post-Reformation England and Venus and Adonis: Dympna Callaghan. 3. Shakespeare s Problem Plays and the Drama of His Time: Troilus and Cressida, Alls Well That Ends Well, Measure for Measure: Paul Yachnin. 4. The Privy and Its Double: Scatology and Satire in Shakespeares Theatre: Bruce Boehrer. 5. Hymeneal Blood, Interchangeable Women, and the Early Modern Marriage Economy in Measure for Measure and Alls Well That Ends Well: Theodora A. Jankowski. 6. Varieties of Collaboration in Shakespeares Problem Plays and Late Plays: John Jowett. 7. What s in a Name? Tragicomedy, Romance, or Late Comedy: Barbara A. Mowat. 8. Fashion: Shakespeare and Beaumont and Fletcher: Russ McDonald. 9. Place and Space in Three Late Plays: John Gillies. 10. The Politics and Technology of Spectacle in the Late Plays: David M. Bergeron. 11. The Tempest in Performance: Diana E. Henderson. 12. What It Feels Like For a Boy: Shakespeare s Venus and Adonis: Richard Rambuss. 13. Publishing Shame: The Rape of Lucrece: Copplia Kahn. 14. The Sonnets: Sequence, Sexuality, and Shakespeares Two Loves: Valerie Traub. 15. The Two-Party System in Troilus and Cressida: Linda Charnes. 16. Opening Doubts Upon the Law: Measure for Measure: Karen Cunningham. 17. Doctor She. Healing and Sex in All s Well That Ends Well: Barbara Howard Traister. 18. You not your child well loving . Text and Family Structure in Pericles: Suzanne Gossett. 19. Imagine Me, Gentle Spectators . Iconomachy and The Winters Tale: Marion O Connor. 20. Cymbeline: Patriotism and Performance: Valerie Wayne. 21. Meaner Ministers : Mastery, Bondage, and Theatrical Labor in The Tempest: Daniel Vitkus. 22. Queens and the Structure of History in Henry VIII: Susan Frye. 23. Mixed Messages: The Aesthetics of The Two Noble Kinsmen: Julie Sanders. Index.

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Book SynopsisAn engaging book spanning the fields of drama, literary criticism, genre, and performance studies, Drama: Between Poetry and Performance teaches students how to read drama by exploring the threshold between text and performance. Draws on examples from major playwrights including Shakespeare, Ibsen, Beckett, and Parks Explores the critical terms and controversies that animate the performance and study of drama, such as the status of language, the function of character and plot, and uses of writing Engages in a theoretical, disciplinary, and cultural repositioning of drama, by exploring and contesting its position at the threshold between text and performance Table of ContentsAcknowledgments ix Preface: Drama, Poetry, and Performance xi Introduction: Between Poetry and Performance 1 i. Shakespeare 3.0 2 ii. Images of Writing/Metaphors of Performance 8 The score 8 The blueprint 12 Information/software 13 Dramatic tools, performance technologies 20 iii. Agencies of Drama: Burke, Poetry, and Performance 22 Writing as agency: “Antony in Behalf of the Play” 29 1 From Poetry to Performance 35 i. Dramatic Performance and its Discontents: The New Criticism 39 Drama, poetry, and “interpretation” 39 “An arrangement of words” 45 Acts of speech 50 Heresy, responsibility, and performance 56 ii. Dramatic Writing and its Discontents: Performance Studies, Drama Studies 64 Antigone’s bones 64 The “theater of acting” 69 Rethinking writing 77 2 Performing Writing: Hamlet 94 i. Hamlet’s Book 97 Playing the book 97 The law of writ 101 Speaking by the card 106 ii. Corrupt Stuff; or, Doing Things with (Old) Words 112 The crux of performance 113 Enseamed beds 118 iii. “OK, we can skip to the book”: The Wooster Group Hamlet 123 Theatrofilm by Electronovision 127 (Re)playing Burton, performing Hamlet 130 3 Embodying Writing: Ibsen and Parks 139 i. Can We Act What We Say?: Rosmersholm 142 Inscribing character 147 Acting the role 150 Confession, disclosure, detour 152 Doing (unspeakable) things with words 158 ii. Footnoting Performance: The America Play and Venus 161 A wink to Mr. Lincolns pasteboard cutout 172 Diggidy-diggidy-diggidy-dawg 178 4 Writing Space: Beckett and Brecht 192 i. Quad: Euclidean Dramaturgies 196 ii. By Accepting This License 205 iii. What Where: Brechtian Technologies 211 Notes 216 Works Cited 239 Further Reading 258 Index 261

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Book SynopsisA COMPANION TO AESCHYLUS In A Companion to Aeschylus, a team of eminent Aeschyleans and brilliant younger scholars delivers an insightful and original multi-authored examinationthe first comprehensive one in Englishof the works of the earliest surviving Greek tragedian. This book explores Aeschylean drama, and its theatrical, historical, philosophical, religious, and socio-political contexts, as well as the receptions and influence of Aeschylus from antiquity to the present day. This companion offers readers thorough examinations of Aeschylus as a product of his time, including his place in the early years of the Athenian democracy and his immediate and ongoing impact on tragedy. It also provides comprehensive explorations of all the surviving plays, including Prometheus Bound, which many scholars have concluded is not by Aeschylus. A Companion to Aeschylus is an ideal resource for students encountering the work of Aeschylus for the first time as well as more advanced scholars seTable of ContentsList of Figures xii Preface and Acknowledgements xiii Notes on Contributors xiv Introduction: Aeschylus and His Place in History 1Peter Burian Part I Aeschylus in His Time 13 1 Democracy's Age of Bronze: Aeschylus's Plays and Athenian History, 508/7–454 bce 15Robert W. Wallace 2 Aeschylus, Lyric and Epic 27P. J. Finglass 3 Tragedy before Aeschylus 40P. J. Finglass 4 Aeschylean Drama and Intellectual History 47Jacques A. Bromberg 5 Aeschylus in Sicily between Tyranny and Democracy 61Malcolm Bell, III Part II Aeschylus as Playwright 75 6 Persians 77A. F. Garvie 7 Seven against Thebes 88Isabelle Torrance 8 Fear of Foreign Women in Aeschylus's Suppliants 99Rebecca Futo Kennedy 9 Disorder, Resolution and Language: The Oresteia 114David H. Porter 10 Eumenides: Justice, Gender, the Gods and the City 130Peter Burian 11 Intertheatricality and Narrative Structure in the Electra Plays 145Kirk Ormand 12 Prometheus Bound: The Principle of Hope 158I. A. Ruffell 13 Slices from Aeschylus's Feast: The Fragmentary Works 171Anthony Podlecki 14 Aeschylean Satyr Drama 185Carl Shaw 15 The Tetralogy 201Alan H. Sommerstein 16 Visualising the Stage 214A. C. Duncan 17 The Choruses of Aeschylus 230Eva Stehle 18 Music, Dance and Metre in Aeschylean Tragedy 242Naomi Weiss 19 Aeschylus: Language and Style 254R. B. Rutherford 20 The Long View in Aeschylus: Intergenerational Myth-Making through the "Other" 267Arum Park Part III Aeschylus and Greek Society 281 21 Aeschylus and Subversion of Ritual 283Richard Seaford 22 Ghosts, Demons and Gods: Supernatural Challenges 295Amit Shilo 23 Inscribing Justice in Aeschylean Drama 310Sarah Nooter 24 Race in Aeschylus's Suppliant Women and Persians 323Sarah Derbew 25 Aeschylus's Persians and the "Just War" 334Sydnor Roy 26 Aeschylus and History 346Emily Baragwanath 27 Aeschylus and Athenian Law 361F. S. Naiden 28 Aeschylus's Athens between Hegemony and Empire 373David Rosenbloom Part IV The Influence of Aeschylus 389 29 Critical Approaches to Aeschylus, from the Nineteenth Century to the Present 391Mark Griffith 30 The Reception of Aeschylus in the Fifth and Fourth Centuries 412C. W. Marshall 31 The Transmission of Aeschylus: The Miracle of Survival 425Marsh McCall 32 The Bow of Ulysses: Aeschylus and his Translators 437Deborah H. Roberts 33 Variations on a Theme: Prometheus 455Theodore Ziolkowski 34 Myth, History and Revolution in the Nineteenth-Century Reception of the Oresteia 467Adam Lecznar 35 Three Landmarks in the Reception of the Oresteia in Twentieth-Century Drama 479Vayos Liapis 36 Oresteia on Stage: Koun, Stein, Hall and Mnouchkine 491Hallie Rebecca Marshall 37 Transforming Aeschylus on the Modern Stage 505Helene P. Foley 38 Applied Aeschylus 518Peter Meineck 39 Teaching the Oresteia as a Work for the Theatre 533Robin Mitchell-Boyask Epilogue 544Jacques A. Bromberg Index 558

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Book SynopsisHe draws on interviews with surviving Folger relatives and visits to 35 related archives in the United States and in Britain to create a portrait of the remarkable couple who ensured that Shakespeare would have a beautiful home in America.Trade ReviewGrant provides not just a biography of the 'onlie begetters' of this astonishing library, but also an account of the worlds in which the Folgers lived. The result is a superlative book... Crisply written and packed with facts and anecdotes. -- Michael Dirda Washington Post This thoroughly researched and accessibly written book is first of all a fascinating biography of how a man and his wife devoted their lives to gathering the world's largest collection of the original folios of William Shakespeare, plus a range of literature from as early as 1500. It is also a meditation on why some museums endure and thrive, while others lapse into confusion and decay. -- James Srodes Washington Times This first biography of Emily Jordan Folger and Henry C. Folger... taps hitherto neglected resources to trace their joint obsession with collecting Shakespeare. Choice Grant's text is indeed well-researched and written, in a snappish and easily-readable style, even though there are many details. -- Jeffery Moser Rocky Mountain Review of Language and Literature While Collecting Shakespeare is biography intertwined with technicalities of antiquarian book and artifact collecting, it undoubtedly belongs on the Shakespeare lover's bookshelf. -- Felicia Hardison Londre Theatre Journal Stephen H. Grant tells the story of the Folgers' joint obsession clearly and efficiently; the illustrations he reproduces are particularly engaging... Shakespeareans, book collectors and all who have worked at the Library and who love and admire it will enjoy Collecting Shakespeare. -- H.R. Woudhuysen Times Literary Supplement An engrossing read... Grant has written an illuminating book that artfully places Henry and Emily Folger in their own time while showing how they helped to shape the scholarship of ours. Renaissance Quarterly Stephen H. Grant uses primary sources from within the Folger Library vault, interviews with the Folger family, and visits to nearly three dozen archives to craft a compelling narrative... This biography could be read as a perfect case study of how a cultural institution in 20th century America was conceived, created, and accomplished. It will delight students of Washington's early 20th century history and readers who are seeking background on the impact of the Folger Shakespeare Library. Washington History ... A good read... Chronique d'Egypte

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Book SynopsisOriginally published in 1967. Literary scholars often acknowledge that Brecht borrowed from a variety of traditions, including Goethe, Schiller, expressionists, naturalists, and realists, all of whom affected his work. However, they tend not to address any single tradition as exclusively Brecht's. From these various literary traditions, Brecht borrowed formal elements only; compared with other writers to whom he is indebted, Brecht exceeds them in cynicism. They do not convey anything like his pitiless debunking attitude, his corrosive anti-romanticism, his hardheaded refusal to idealize or glorify, and his suspicion of all sentimentalities. This book discusses what the author identifies as the Brechtian sensibility. Chroniclers of drama have not totally ignored the Brechtian tradition, but too often they are content to note merely that Brecht shared with some writersparticularly Büchner and Wedekinda proclivity for open drama and episodes of racy realism tinged with poetic feeling. OtTable of ContentsAcknowledgmentsIntroductionChapter 1. J. M. R. LenzChapter 2. Christian Dietrich GrabbeChapter 3. Georg BüchnerChapter 4. Frank WedekindChapter 5. Karl KrausChapter 6. Bertoly BrechtAppendix BibliographyIndex

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Book SynopsisWhat is the purpose of education? The answer might be found in a Shakespeare class at a small liberal arts college. In this engaging account of teaching a Shakespeare class at a small liberal arts college, Gayle Greene illustrates what is so vital and urgent about the humanities. Follow along with Greene as she introduces us to her students and showcases their strengths, needs, and vulnerabilities, so we can experience the magic of her classroom. In Immeasurable Outcomes, Greene's class builds a complex human ecosystem that pushes students to think more deeply and discover their own interests and potential, all while recognizing the inherent dignity in other people's views and values. Grounding her analyses in half a century of teaching, Greene pushes back against the demand for measurable student learning outcomes and the standardization imposed on K-12 schools in the name of reform. Instead, she draws her conclusions about education directly from the students themselves. Alumni tesTrade ReviewGreene's book is fun.The point of Greene's performances and those of her students is not to present a final view of any of Shakespeare's characters, still less of his plays. Rather, it is to show what jargon-laden course outlines cannot encompass. It is to show that over the course of a semester, students who are willing to follow a trained, dedicated teacher develop finely tuned reading skills and link what they read to their lives.—University World News[Greene's] defense of the humanities is as philosophically rigorous as it is affectingly impassioned....an important contribution to today's education debates and a sterling example of the intellectual virtues it valorizes...edifying and inspiring.—Kirkus ReviewsA spirited work in defense of a heartfelt humanist approach to teaching and learning....This book argues for the human touch in education....A tour de force in terms of capturing a hugely complicated process on the page.—ForbesAn impassioned manifesto to revive quality, democratic education that redeems college teaching and re-seeds enlightened, disaster-averting voters.—Nation of ChangeDelightful.K-12 educators will find a great deal of common ground in Greene's book and, overall, a largely shared understanding of the goals and value of a liberal arts education, as well as a keen evaluation of contemporary problems in education more generally.—ClassicalEd ReviewGayle Greene's Immeasurable Outcomes: Teaching Shakespeare in the Age of the Algorithmoffers a provocation: Good teaching matters, but it can't be measured. No one has recently captured as well as Greene the experience of being a humanities professor—what we hope to do, what happens (and doesn't) during our classes, what gives us joy, and what makes us sad. The classroom is threatened by false understandings of what can and should be assessed, by online education, and by the world's distractions. It needs to be protected.—Chronicle of Higher EducationTable of ContentsIntroductionChapter 1. First DayChapter 2. Once Upon A Time In The Twentieth Century: How The Humanities Took A Great FallChapter 3. What's Trust Got to Do with It?Chapter 4. "The Reading Thing": Attending, Remembering, ConnectingChapter 5. The Play's The Thing: Taming Of The Shrew, A Midsummer Night's DreamChapter 6. Teaching Is an Art, Not an AlgorithmChapter 7. De-grading the Professors: Outcomes Assessment AssessedChapter 8. Growing Up Human: Hamlet, King LearChapter 9. Ask a GraduateAcknowledgmentsNotesSelect BibliographyIndex

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Book SynopsisThe first biography of Henry and Emily Folger, who acquired the largest and finest collection of Shakespeare in the world. In Collecting Shakespeare, Stephen H. Grant recounts the American success story of Henry and Emily Folger. Shortly after marrying in 1885, the Folgers started buying, cataloging, and storing all manner of items about Shakespeare and his era. Emily earned a master's degree in Shakespeare studies. The frugal couple worked passionately as a tight-knit team during the Gilded Age, financing their hobby with the fortune Henry earned as president of Standard Oil Company of New York, where he was a trusted associate of John D. Rockefeller Sr. While a number of American universities offered to house the collection, the Folgers wanted to give it to the American people. Afraid the price of antiquarian books would soar if their names were revealed, they secretly acquired prime real estate on Capitol Hill near the Library of Congress. They commissioned the design and construction of an elegant building with a reading room, public exhibition hall, and the Elizabethan Theatre. The Folger Shakespeare Library was dedicated on the Bard's birthday on April 23, 1932. The library houses 82 First Folios, 277,000 books, and 60,000 manuscripts. It welcomes more than 100,000 visitors a year and provides professors, scholars, graduate students, and researchers from around the world with access to the collections. It is also a vibrant center in Washington, DC, for cultural programs, including theater, concerts, lectures, and poetry readings. With unprecedented access to the primary sources within the Folger vault, Grant draws on interviews with surviving Folger relatives and visits to 35 related archives in the United States and in Britain to create a portrait of the remarkable couple who ensured that Shakespeare would have a beautiful home in America.Trade ReviewGrant provides not just a biography of the 'onlie begetters' of this astonishing library, but also an account of the worlds in which the Folgers lived. The result is a superlative book . . . Crisply written and packed with facts and anecdotes.—Michael Dirda, Washington PostThis thoroughly researched and accessibly written book is first of all a fascinating biography of how a man and his wife devoted their lives to gathering the world's largest collection of the original folios of William Shakespeare, plus a range of literature from as early as 1500. It is also a meditation on why some museums endure and thrive, while others lapse into confusion and decay.—James Srodes, Washington TimesThis first biography of Emily Jordan Folger and Henry C. Folger. . . taps hitherto neglected resources to trace their joint obsession with collecting Shakespeare.—ChoiceGrant's text is indeed well-researched and written, in a snappish and easily-readable style, even though there are many details.—Jeffery Moser, Rocky Mountain Review of Language and LiteratureWhile Collecting Shakespeare is biography intertwined with technicalities of antiquarian book and artifact collecting, it undoubtedly belongs on the Shakespeare lover's bookshelf.—Felicia Hardison Londre, Theatre JournalStephen H. Grant tells the story of the Folgers' joint obsession clearly and efficiently; the illustrations he reproduces are particularly engaging. . . Shakespeareans, book collectors and all who have worked at the Library and who love and admire it will enjoy Collecting Shakespeare.—H.R. Woudhuysen, Times Literary SupplementAn engrossing read . . . Grant has written an illuminating book that artfully places Henry and Emily Folger in their own time while showing how they helped to shape the scholarship of ours.—Renaissance QuarterlyStephen H. Grant uses primary sources from within the Folger Library vault, interviews with the Folger family, and visits to nearly three dozen archives to craft a compelling narrative. . . This biography could be read as a perfect case study of how a cultural institution in 20th century America was conceived, created, and accomplished. It will delight students of Washington’s early 20th century history and readers who are seeking background on the impact of the Folger Shakespeare Library.—Washington History. . . A good read. . .—Chronique d'ÉgypteTable of ContentsPrologueAcknowledgments1. Well Read in Poetry, Fair in Knowledge: Henry and Emily Form a Team2. Thou Lovest Me, My Name Is Will: Smitten by Shakespeare3. Wise, Circumspect, and Trusted: Five Decades at Standard Oil4. Leading on to Fortune: Henry Invests to Buy the Bard5. The Hunt Is Up, the Fields Are Fragrant: Building a Collection6. Whole Volumes in Folio: The Ultimate Prize for Collectors7. What News on the Rialto: Maneuvers in the Rare Book Market8. Hotspur and Hal: Two Henrys Compete9. A Monument to Gentle Verse: Designing a Treasure House10. Dear, Blessed Plot of Land: The Folgers' Gift to AmericaEpilogue: Praise in the Eyes of Posterity: The Folger after the FolgersAppendix: Directors of the Folger Shakespeare LibraryNotesBibliographyIndex

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Book SynopsisRevealing the modernity of Shakespeare's politics, and the theatricality of Trump'sTrade Review“‘What means that trump?’ Jeffrey Wilson sounds the Shakespearean resonances of the presidency, from controversial productions to what he terms ‘politicitation.’ Animated by a frank, searching voice, Wilson’s book energetically chronicles our dramatic moment—and how it might end.”—Scott Newstok, author of How to Think Like Shakespeare: Lessons from a Renaissance Education“As Wilson illustrates, the political drama that has unfolded since 2016 is tragedy, comedy, and history rolled into one—and the consequence, in part, of a failure in the humanities to instill the moral and civic lessons that bind us. Serving as a corrective, this book reveals how understanding our present moment through a Shakespearean lens offers the possibility of healing and redemption—not only for the bitter political divide among Americans but also for the American democratic experiment itself.”—Asha Rangappa, Senior Lecturer at the Jackson Institute for Global Affairs, Yale University

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Book SynopsisThe story of a medieval king's disability traveling through time from Shakespeare's hands to todayTrade Review“Wilson explores the many meanings of Shakespeare’s masterpiece in performance and as text and of Richard III as an historical figure in a wide-ranging study that offers careful and approachable close readings that will interest actors, directors, playgoers, scholars, and the general reader. While Richard’s body is center stage in this reception history, Wilson’s spotlight is also on the audience. This book makes a strong case for Richard’s centrality to disability studies and is a hugely enjoyable read.”—Essaka Joshua, Associate Professor of English at the University of Notre Dame, and author of Physical Disability in British Romantic Literature“Erudite, original, and thoughtful, Jeffrey Wilson’s Richard III’s Bodies from Medieval England to Modernity is a vital resource for anyone studying disability history, stigmatized bodies, and the historiography of monarchy. Chapters range widely across medieval and early-modern visual representations of Richard and the presentation of Richard’s so-called hunch on stage in the eighteenth and nineteenth centuries. The book also includes a fascinating account of contemporary performances and the political stakes in the twenty-first century of casting Richard as a person with a disability, as a person with a disability who culturally and politically identifies as Disabled, or as a person without a disability. The volume concludes with the felicitous coinage ‘historical presentism’ to discuss the study of Shakespearean adaptations and appropriations and reminds us why we still read about Richard, and perhaps why we still read Shakespeare at all.”—Sujata Iyengar, Professor of English at the University of Georgia, and editorof Disability, Health, and Happiness in the Shakespearean Body"Wilson's perceptive and timely work...demonstrates succinctly that disability and its presence within Shakespeare’s Richard III and all subsequent interpretations of Richard’s body remain central to our understanding of Shakespeare’s role within English disability history.... [A]n excellent resource for anyone seeking to visualise and trace the undeniable shift in interpretations of Richard III’s physical body through time."—Cahiers Élisabéthains"[A] detailed and valuable performance history of Richard III and the play's relationship with disability. Through fascinating and often revelatory close reading of primary sources—both textual and visual—he immerses us in the character of Shakespeare's 'rudely stamp'd' king."—Times Literary Supplement

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Book SynopsisKathleen Gallagher and Barry Freeman bring together nineteen playwrights, actors, directors, scholars, and educators who discuss the role that theatre can and must play in professional, community, and educational venues.Trade Review"This collection helpfully expands the debate on "why theatre now" by providing a selection of points of view and experiences offering a hopeful message for the future of theatre." -- Zoe Zontou, Liverpool Hope University * University of Toronto Quarterly, vol 87 3, Summer 2018 *Table of ContentsIntroduction Taking a Step Back Barry Freeman and Kathleen Gallagher Part I: A Politics of Place in a Global Age Theatre for a Changeable World, or Making Room for a Fire (Barry Freeman) Make What You Need (Dustin Scott Harvey) When You're Up to Your Ass in Alligators... (Edward Little) Part II: Antitode for an Ailing Modernity Politics and Presence: A Theatre of Affective Encounters (Kathleen Gallagher) If You Mingle: Thoughts on How Theatre Humanizes the Audience (Andrew Kushnir) Towards a Theatre of Rich, Poetic Language (Alan Dilworth) The Box That Cannot Be Contained (Catherine Banks) Part III: (En)Gendering Change Recontextualizing (Jackie Maxwell in conversation with Kathleen Gallagher) Performance as Reappearance: Female Blackness in History and Theatre (Naila Keleta-Mae) Unspeakable Vulnerability: Theatre Mattering in Men's Lives (Julie Salverson) Part IV: Breaking Down Barriers It's Time to Profess Performance: Thinking Beyond the Specialness and Discreteness of Theatre (Laura Levin) Including Millennials in the Theatre of the New Millennium (Nicholas Hanson) Convergence Theatre: Necessary Producers (A Dialogue Between Julie Tepperman and Aaron Willis) Are We There Yet? Using Theatre to Promote Positive Interdisciplinary Intercourse (James McKinnon) Thinking Beyond the Boundaries of Theatre, Math and Reality (John Mighton in conversation with Kathleen Gallagher) Part V: Why Theatre Always From Epidaurus to the BackSpace at Passe Muraille: Hard Seats, Real Theatre (Judith Thompson) Sequencing the Shattered Narratives of the Now (Ann-Marie MacDonald in conversation with Kathleen Gallagher) A Small Essay on the Largeness of Light (Daniel David Moses)

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Book SynopsisKathleen Gallagher and Barry Freeman bring together nineteen playwrights, actors, directors, scholars, and educators who discuss the role that theatre can and must play in professional, community, and educational venues.Trade Review"This collection helpfully expands the debate on "why theatre now" by providing a selection of points of view and experiences offering a hopeful message for the future of theatre." -- Zoe Zontou, Liverpool Hope University * University of Toronto Quarterly, vol 87 3, Summer 2018 *Table of ContentsIntroduction Taking a Step Back Barry Freeman and Kathleen Gallagher Part I: A Politics of Place in a Global Age Theatre for a Changeable World, or Making Room for a Fire (Barry Freeman) Make What You Need (Dustin Scott Harvey) When You're Up to Your Ass in Alligators... (Edward Little) Part II: Antitode for an Ailing Modernity Politics and Presence: A Theatre of Affective Encounters (Kathleen Gallagher) If You Mingle: Thoughts on How Theatre Humanizes the Audience (Andrew Kushnir) Towards a Theatre of Rich, Poetic Language (Alan Dilworth) The Box That Cannot Be Contained (Catherine Banks) Part III: (En)Gendering Change Recontextualizing (Jackie Maxwell in conversation with Kathleen Gallagher) Performance as Reappearance: Female Blackness in History and Theatre (Naila Keleta-Mae) Unspeakable Vulnerability: Theatre Mattering in Men's Lives (Julie Salverson) Part IV: Breaking Down Barriers It's Time to Profess Performance: Thinking Beyond the Specialness and Discreteness of Theatre (Laura Levin) Including Millennials in the Theatre of the New Millennium (Nicholas Hanson) Convergence Theatre: Necessary Producers (A Dialogue Between Julie Tepperman and Aaron Willis) Are We There Yet? Using Theatre to Promote Positive Interdisciplinary Intercourse (James McKinnon) Thinking Beyond the Boundaries of Theatre, Math and Reality (John Mighton in conversation with Kathleen Gallagher) Part V: Why Theatre Always From Epidaurus to the BackSpace at Passe Muraille: Hard Seats, Real Theatre (Judith Thompson) Sequencing the Shattered Narratives of the Now (Ann-Marie MacDonald in conversation with Kathleen Gallagher) A Small Essay on the Largeness of Light (Daniel David Moses)

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Book SynopsisIt is a commonly held view among historians of Greek literature that with the advent of Euripides the tragic structure, even the tragic outlook of Greek drama suffered a breakdown from which it never recovered. While there is much truth in this opinion, it has tended to put too much emphasis on 'Euripides the destroyer' rather than 'Euripides the creator.' In this study the author's main purpose is to redress the balance and to discuss the structure and techniques of Euripidean drama in relation to its new and richly varied themes.The consistent dramatic form evolved by Aeschylus and Sophocles had grown out of their conception of tragedy as the resultant of the tension between the individual will and the universal order suggested in myth. For Euripides, who never fully accepted myth as the real basis of tragedy, alternate ways of using the traditional material became necessary, and the playwright continually changed his dramatic structure to suit the particular tragic ide

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Book SynopsisRaymond Poisson, a contemporary of Molière, was the leading comic actor with the troupe of the Hôtel de Bourgogne and later at the Comédie Française during the first five years of its existence. He popularized one of the French stage's best-loved stock characters, the impudent servant Crispin, while finding time to supply his troupe with short comedies in which he himself starred. This study is thoroughly documented and reflects the author's detailed knowledge of, and interest in, the period. It establishes Poisson's place in theatrical history, and illuminates a whole tradition in French theatre in the seventeenth century.

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Book SynopsisUnlikely friends and collaborators, Bernard Shaw and Gilbert Murray carried on a lively and wide-ranging correspondence for more than fifty years. When they began exchanging letters in the late 1890s, Shaw was a renowned Fabian propagandist, reviewer, and author of anti-conventional plays. Murray was a classicist and translator of ancient Greek drama who would eventually become Regius Professor of Greek at Oxford. Beginning with their shared distaste for the popular “well-made plays” of the era, their correspondence quickly expanded into collaboration – Murray helped revise Shaw’s Major Barbara, in which he appears as a character  – and discussion of a vast range of issues ranging from alphabet reform and psychic phenomena to the League of Nations and international politics.This collection of 171 letters, most never before published, finally makes the fascinating Shaw/Murray correspondence available. With explanatory headnotes and fTrade Review'Carpenter has done a superlative job compiling, contextualizing, and introducing the Shaw-Murray correspondence.' -- H.I. Einsohn Choice Magazine, vol 52:02:2015Table of ContentsGeneral Editor's Note Introduction Editor's Note Acknowledgements Abbreviations Letters Table of Correspondents References Index

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Book SynopsisThis Companion represents the myriad ways of thinking about the remarkable achievement of Shakespeare's sonnets. An authoritative reference guide and extended introduction to Shakespeare's sonnets. Contains more than 20 newly-commissioned essays by both established and younger scholars. Considers the form, sequence, content, literary context, editing and printing of the sonnets. Shows how the sonnets provide a mirror in which cultures can read their own critical biases. Informed by the latest theoretical, cultural and archival work. Trade Review"Of making many reference books about Shakespeare there is no end, and Blackwell, a leader in the field of reference books on literature and other topics, has produced a large and expensive Companion to Shakespeare's Sonnets" (Chronique) "This title provides a solid introduction to key concepts and ways of studying the work of an author who whose reputation is so great it is often difficult for readers new to the works to know where to begin.... The quality of all the essays is very high." (Reference Reviews, Issue 4 2008) "Michael Schoenfeldt's compilation of twenty-five critical essays takes into account the most important issues concerning Shakespeare's sonnets: historical, interpretive, biographical, and editorial ... Several familiar themes in Sonnet criticism get fresh readings here … it is obviously impossible to do justice here to all of the essays ... it is a valuable [guide] to the current state of criticism and scholarship." (Renaissance Quarterly) "This is generally an excellently structured collection of essays." (Notes and Queries)Table of ContentsNotes on Contributors viii Acknowledgments xii Introduction 1 Part I Sonnet Form and Sonnet Sequence 13 1 The Value of the Sonnets 15 Stephen Booth 2 Formal Pleasure in the Sonnets 27 Helen Vendler 3 The Incomplete Narrative of Shakespeare’s Sonnets 45 James Schiffer 4 Revolution in Shake-speares Sonnets 57 Margreta de Grazia Copyrighted Material Part II Shakespeare and His Predecessors 71 5 The Refusal to be Judged in Petrarch and Shakespeare 73 Richard Strier 6 “Dressing old words new”? Re-evaluating the “Delian Structure” 90 Heather Dubrow 7 Confounded by Winter: Speeding Time in Shakespeare’s Sonnets 104 Dympna Callaghan Part III Editorial Theory and Biographical Inquiry: Editing the Sonnets 119 8 Shake-speares Sonnets, Shakespeare’s Sonnets, and Shakespearean Biography 121 Richard Dutton 9 Mr. Who He? 137 Stephen Orgel 10 Editing the Sonnets 145 Colin Burrow 11 William Empson and the Sonnets 163 Lars Engle Part IV The Sonnets in Manuscript and Print 183 12 Shakespeare’s Sonnets and the Manuscript Circulation of Texts in Early Modern England 185 Arthur F. Marotti 13 The Sonnets and Book History 204 Marcy L. North Part V Models of Desire in the Sonnets 223 14 Shakespeare’s Love Objects 225 Douglas Trevor 15 Tender Distance: Latinity and Desire in Shakespeare’s Sonnets 242 Bradin Cormack 16 Fickle Glass 261 Rayna Kalas 17 “Th’ expense of spirit in a waste of shame”: Mapping the “Emotional Regime” of Shakespeare’s Sonnets 277 Jyotsna G. Singh Part VI Ideas of Darkness in the Sonnets 291 18 Rethinking Shakespeare’s Dark Lady 293 Ilona Bell 19 Flesh Colors and Shakespeare’s Sonnets 314 Elizabeth D. Harvey Part VII Memory and Repetition in the Sonnets 329 20 Voicing the Young Man: Memory, Forgetting, and Subjectivity in the Procreation Sonnets 331 Garrett A. Sullivan, Jr. 21 “Full character’d”: Competing Forms of Memory in Shakespeare’s Sonnets 343 Amanda Watson Part VIII The Sonnets in/and the Plays 361 22 Halting Sonnets: Poetry and Theater in Much Ado About Nothing 363 Patrick Cheney 23 Personal Identity and Vicarious Experience in Shakespeare’s Sonnets 383 William Flesch Part IX The Sonnets and A Lover’s Complaint 403 Margaret Healy 25 The Enigma of A Lover’s Complaint 426 Catherine Bates Appendix: The 1609 Text of Shakespeare’s Sonnets and A Lover’s Complaint 441 Index 502

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Book SynopsisIn 2011, The Long Story Shorts One Act Festival was launched featuring performances of short plays written by undergraduate students in the Writing for the Screen and Stage minor, at the University of North Carolina at Chapel Hill. Marking the first five years of the festival, this anthology showcases works written to be performed in ten minutes with a small production budget.

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Book SynopsisAn exploration of the poetic function of Greek archetypes in Schiller's Wallenstein, this study claims Homer's Iliad and Euripides's Iphigenia in Aulis, the first epic and the last tragic poem about the Trojan War in the Greek tradition, as archetypal sources for Schiller's modern historical drama about the Thirty Years War.

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Book SynopsisOriginally published in 1950, this volume contains a vivid English verse translation by Paul H. Curts of one of the most profound and moving tragedies of German literature.

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Book SynopsisLiterary historians and critics who have written on the influence of Racine in England during the neoclassical period apparently have assumed that the English translators and adapters of Racine’s plays in general succeeded in presenting the real Racine to the English public.Katherine Wheatley here reveals the wide discrepancy between avowed intentions and actual results. Among the English plays she compares with their French originals are Otway’s Titus and Berenice, Congreve’s The Mourning Bride, and Philips’s The Distrest Mother. These comparisons, fully supported by quoted passages, reveal that those among the English public and contemporary critics who could not themselves read French had no chance whatever to know the real Racine: “The adapters and translators, so-called, had eliminated Racine from his tragedies before presenting them to the public.” Unacknowledged excisions and additions, shifts in plot, changes inTable of Contents Preface Part I. Racine Improved I. John Crowne and Racine II. Thomas Otway’s Titus and Berenice III. The Mourning Bride IV. Abel Boyer’s Achilles V. Edmund Smith and Racine VI. Andromaque as the “Distrest Mother” VII. Charles Johnson’s The Victim VIII. The Sultaness IX. The Fatal Legacy X. Two Translations of Britannicus Part II. Racine and English Classicism XI. Neo-Classical Theory of Tragedy in England, 1674–1699 XII. English Judgments of Racine, 1675–1699 XIII. Racine and the Critics, 1700–1721 XIV. Summary and Conclusion Index

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Book SynopsisIn Passing Judgement, Hélène Bilis examines how an overlooked character-typethe royal judgeremained a constant of the tragic genre throughout the 17th century.Trade Review"This book is an excellent addition to scholarship on both humanist and classical French theater." -- Brian Moots, Pittsburgh State University * Renaissance Quarterly *Table of ContentsPREFACE INTRODUCTION CHAPTER 1: The Critique of Le Cid: Richelieu, Royal Judgment, and the Rules CHAPTER 2: Failed Judgments, Thwarted Justice: Alexandre Hardy's Scedase ou l'hospitalite violee CHAPTER 3: The Ceremony Unravels: Tragedy's Comedic Turn CHAPTER 4: Learning From Experience: On Corneille and Coherence CHAPTER 5: Corneille's Cinna and Rotrou's Crisante: A Search for the Emperor's Judgment CHAPTER 6: Racine and Royal Fathers of Injustice-Mithridate and Phedre CONCLUSION Note Bibliography Index

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Book SynopsisPoetry on Stage focuses on exchanges between the writers of the Italian neo-avant-garde with the actors, directors, and playwrights of the Nuovo Teatro. The book sheds light on a forgotten chapter of twentieth-century Italian literature, arguing that the theatre was the ideal incubator for stylistic and linguistic experiments and a means through which authors could establish direct contact with their audience and verify solutions to the practical and theoretical problems raised by their stances in politics and poetics. A robust analysis of a number of exemplary texts grounds these issues in the plays and poems produced at the time and connects them with the experimentations subsequently carried out by some of the same artists. In-depth interviews with four of the most influential figures in the field critic Valentina Valentini, actor and director Pippo Di Marca, author Giuliano Scabia, and the late poet Nanni Balestrini conclude the volume, providing invaluable fiTrade Review"The copious literature on the poetic Neoavanguardia has long obscured a clearly necessary analysis of parallel experiences of the same authors. This monograph decentralises the anthologies that have now been canonized, and to which the critical attention is almost utterly devoted, and has the potential to inaugurate a more diffuse consideration of the understudied theatre (re-)writings." -- Marzia D’Amico, University of Oxford * Annali d’italianistica *Table of ContentsIntroduction Note on Terminology 1. Why the Theatre? The Role of the Stage in the Theoretical Debate Surrounding the Poetry and Poetics of the Neo-Avant-Garde 2. The Italian Stage in the 1960s 3. A Few Theoretical Notes on Breath and Text 4. An Introduction to Pagliarani’s Theatre 5. Collaborations and Convergences: Pagliarani, Giuliani, Celli, and Sanguineti Interview with Valentina Valentini Interview with Pippo Di Marca Interview with Nanni Balestrini Interview with Giuliano Scabia Works Cited

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Book SynopsisCan the inadvertent clashes between collaborators produce more powerful effects than their concordances? For Thomas Middleton and William Rowley, the playwriting team best known for their tragedy The Changeling, disagreements and friction proved quite beneficial for their work.This first full-length study of Middleton and Rowley uses their plays to propose a new model for the study of collaborative authorship in early modern English drama. David Nicol highlights the diverse forms of collaborative relationships that factor into a play’s meaning, including playwrights, actors, companies, playhouses, and patrons. This kaleidoscopic approach, which views the plays from all these perspectives, throws new light on the Middleton-Rowley oeuvre and on early modern dramatic collaboration as a whole.Trade Review‘In this welcome study of working relationship between two early modern playwrights, David Nicol fuses new approach with old….This approach produces fascinating and often persuasive insights.’ -- Mark Hutchings * SHARP News August 20, 2016 *‘For its attention to details of theatrical performance and its illuminating readings of multiple plays, Nicol’s book is an important contribution to the study of early modern authorship and collaboration.’ -- Hetaher A. Hirschfeld * Early Theatre vol 17:01:2014 *"Nicol combines this critical project with a survey of different ways of imagining collaborative authorship prompted by the Middleton-Rowley canon… Nicol’s study is an important inquiry into the practises of collaborative authorship and a major contribution to recognizing Rowley. Nicol largely avoids the risk of defining the sense of each author’s creative disposition too narrowly, and his carful scholarship illustrates the productive insights to be gained from pursuing a separationist approach." -- Andrew Gordon * Renaissance Quarterly: Vol 67:02:2014 *Table of ContentsAcknowledgements Note on the Citation of Early Modern Dramatic Texts 1. Middleton and Rowley: Writing About Collaborative Drama - Critical Approaches to Collaboration: The Case of The Changeling - Middleton, Rowley and Authorship - Authorial Divisions and the Process of Collaboration - Analyzing Collaborative Drama 2. Collaborators and Individual Style: Choice and Religion in The Changeling - Choosing to Sin in All`s Lost by Lust - The Mind of the Sinner - Calvinism and Middleton`s Tragedies - Collaboration and Choice in The Changeling - Divided Authors 3. The Actor as Collaborator: Wit at Several Weapons and the Incorporation of Persona - Rowley’s Persona Under Different Playwrights - The Rowleyan Clown in All’s Lost by Lust - The Structure of Rowley’s Clown Plots - Middleton, Rowley, and the Clown: Wit at Several Weapons - The Clown’s Perspective 4. Collaborators and Playing Companies: Class and Genre in A Fair Quarrel - Middleton and the Factious Comedy - Rowley and Romance - The Double Ending of A Fair Quarrel ­- Duelling Genres 5. A Presence in the Crowd: Multiple Authorship and the Individual Voice in The Spanish Gypsy, The World Tosesed at Teninis and The Old Law - An Actor’s Presence in The Spanish Gypsy and The Changeling - The Patron’s Presence in The World Tossed at Tennis and The Old Law - Epilogue: The Presence of the Absent Author Appendix: A Middleton-Rowley Chronology

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Book Synopsis"What is the most wonderful thing about teaching this play in our classrooms?" Using this question as a starting point, Shakespeare’s Guide to Hope, Life, and Learning presents a conversation between four of Shakespeare’s most popular plays and our modern experience, and between teachers and learners.The book analyzes King Lear, As You Like It, Henry V, and Hamlet, revealing how they help us to appreciate and responsibly interrogate the perspectives of others. Award-winning teachers Lisa Dickson, Shannon Murray, and Jessica Riddell explore a diversity of genres – tragedy, history, and comedy – with distinct perspectives from their own lived experiences. They carry on lively conversations in the margins of each essay, mirroring the kind of open, ongoing, and collaborative thinking that Shakespeare inspires.The book is informed by ideas of social justice and transformation, articulated by such thinkers as Paulo Freire, ParTable of ContentsList of Illustrations Acknowledgments Prologue: Shakespeare, the Classroom, and Critical Hope Part One: King Lear Keep Falling, Alice: Rabbit Holes, Monkey Wrenches, and Critical Love in King Lear Jessica Riddell Impossible Choices and Unbreakable Bonds in King Lear: Close Reading, Negative Capability, and Critical Empathy Shannon Murray “Bless Thy Sweet Eyes, They Bleed”: The Ethics of Pedagogy and My Fear of Lear Lisa Dickson Part Two: As You Like It Learning as an Act of Becoming in As You Like It Jessica Riddell “Sweet Are the Uses of Adversity”: Duke Senior’s Arden as a Hopeful Creation Shannon Murray Something Wicked: Verse and Bodies in As You Like It 5.2 Lisa Dickson Part Three: Henry V Henry V: Prophecy, Hope-Speak, and Future-Speak Shannon Murray Orators of Hope or Rhetors Gone Rogue? The Ambiguities of Persuasion in Henry V Jessica Riddell “We Should Just F**k around with Some Text”: Henry V and the White Box Classroom Lisa Dickson Part Four: Hamlet Chasing Roosters on the Ramparts: Three Ways of Doing in Hamlet Lisa Dickson Acknowledging the Complexity of Unknowing as an Act of Critical Hope in Hamlet Jessica Riddell Wonder and Dust in a Hopeful Hamlet Shannon Murray Epilogue: The Value of the Edges Works Cited Index

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Book Synopsis"What is the most wonderful thing about teaching this play in our classrooms?" Using this question as a starting point, Shakespeare’s Guide to Hope, Life, and Learning presents a conversation between four of Shakespeare’s most popular plays and our modern experience, and between teachers and learners.The book analyzes King Lear, As You Like It, Henry V, and Hamlet, revealing how they help us to appreciate and responsibly interrogate the perspectives of others. Award-winning teachers Lisa Dickson, Shannon Murray, and Jessica Riddell explore a diversity of genres – tragedy, history, and comedy – with distinct perspectives from their own lived experiences. They carry on lively conversations in the margins of each essay, mirroring the kind of open, ongoing, and collaborative thinking that Shakespeare inspires.The book is informed by ideas of social justice and transformation, articulated by such thinkers as Paulo Freire, ParTable of ContentsList of Illustrations Acknowledgments Prologue: Shakespeare, the Classroom, and Critical Hope Part One: King Lear Keep Falling, Alice: Rabbit Holes, Monkey Wrenches, and Critical Love in King Lear Jessica Riddell Impossible Choices and Unbreakable Bonds in King Lear: Close Reading, Negative Capability, and Critical Empathy Shannon Murray “Bless Thy Sweet Eyes, They Bleed”: The Ethics of Pedagogy and My Fear of Lear Lisa Dickson Part Two: As You Like It Learning as an Act of Becoming in As You Like It Jessica Riddell “Sweet Are the Uses of Adversity”: Duke Senior’s Arden as a Hopeful Creation Shannon Murray Something Wicked: Verse and Bodies in As You Like It 5.2 Lisa Dickson Part Three: Henry V Henry V: Prophecy, Hope-Speak, and Future-Speak Shannon Murray Orators of Hope or Rhetors Gone Rogue? The Ambiguities of Persuasion in Henry V Jessica Riddell “We Should Just F**k around with Some Text”: Henry V and the White Box Classroom Lisa Dickson Part Four: Hamlet Chasing Roosters on the Ramparts: Three Ways of Doing in Hamlet Lisa Dickson Acknowledging the Complexity of Unknowing as an Act of Critical Hope in Hamlet Jessica Riddell Wonder and Dust in a Hopeful Hamlet Shannon Murray Epilogue: The Value of the Edges Works Cited Index

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Book SynopsisA consciousness of the past has been an essential determinant of community in the city of Chester, England. This awareness and fascination has been bolstered by a strong civic tradition of drama. In particular, the city's Whitsun Plays have been a vehicle for communicating the myth of the city's medieval heritage, helping to reinforce the sense of history that is part of Chester's identity.Building up the material in REED: Chester, David Mills has produced a detailed study of Chester's Whitsun Plays in their local, physical, social, political, cultural, and religious context. A continuum has survived between the Middle Ages and the present day, providing not only an understanding of the plays themselves, but a narrative of the ways in which manuscripts survive and the functions that they serve. The continued performance of these plays is significant of modern play revivals as a political and sociological phenomenon, demonstrating the power that these rituals and play

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Book SynopsisIn 1800 entries this valuable reference work covers texts and records of dramatic activity for about 400 sites in Britain from Roman times to 1558. Grouped in sections – Texts listed chronologically; Records of England, Wales, Scotland, Ireland and Other, classified by county, site, and date; and Doubtful Texts and Records – the entries summarize the contents of each record and give bibliographic information.Professor Lancashire presents a comprehensive survey of almost every type of literary and historical record, document, and work: civic, church, guild, monastic and royal court minutes and financial accounts; national records – Chancery, Parliament, Privy Council, Exchequer; royal proclamations; wills; local court rolls; jest-books, poems, prose treatises, sermons; archaeological remains, artifacts, illustrations. He brings together works in several normally unrelated fields: Roman theatre in Britain; medieval drama as such, including the Corpus Christ

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Book SynopsisA number of striking parallels link the lives and careers of Machiavelli and Kleist. This study of the influence of one on the work of the other begins with an outline of those parallels, and of the Machiavellian atmosphere in Kleist’s first play, Die Familie Schroffenstein.Reeve goes on to focus on the protagonists of Kleist’s plays, beginning with Licht in Der zerbrocheme Krug. He exposes the skill of Licht’s behind-the-scenes direction of the course of events to his own advantage and to the detriment of his superior, Adam. Next Reeve offers a detailed analysis of Die Hermannsschlacht, in which he demonstrates how Hermann embodies those qualities – the cunning of the fox and the strength of the lion – demanded by Machiavelli in a successful ruler. With these traits Hermann has brought the German princes, his own tribe, his rival Marbod, his wife, and even the Romans to a point where, unwittingly, the have all worked towards the establishme

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Book SynopsisThe Problem Plays—Hamlet, Troilus and Cressida, All’s Well That Ends Well and Measure for Measure—form a group distinguished by such common factors as a preoccupation with religious dogma and the problem of evil; an interest in human nature as it is, rather than with its latent capacities; and a strong contrast between the outlook of youth and age. Dr. Tillyard discusses these factors before tracing their effect in the individual plays, so that his study not only illumines each piece but also its neighbours. He thus succeeds in bringing these apparently disparate works into sharp focus, and establishes between them a mutually enlightening relationship.

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Book SynopsisThis is the first book to survey comprehensively the field of Elizabethan and Jacobean citizen comedy. Most studies of the period focus on major authors; this one follows recurring themes and motifs, through a variety of plays by many authors from the moralizing comedies of the boys' companies. Professor Leggatt provides not only a fresh perspective on familiar plays by such figures as Jonson, Middleton, and Dekker, but also a new look at a number of neglected comedies, some by unfamiliar authors, some by major authors working together. Standard figures – the usurer, the prodigal, and the prostitute – and standard plots – notably intrigues based on money or sex (or both) – are traced to show the changes that occur in apparently stereotyped material at the hands of individual authors. The result is to display the range and internal variety of a genre that too often is seen as all of a piece, and to show the different ways in which social thinking can inte

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Book SynopsisThis critical edition introduces new audiences to A Warning for Fair Women, an important but neglected work of Elizabethan drama. Trade Review"Editions like A Warning for Women are few and far between: fun, relevant, contextually nuanced, and accessible."—Francesca Bua, Comitatus“Students and scholars alike will find Ann Christensen’s erudite and entertaining new edition of A Warning for Fair Women to be invaluable in the study of Elizabethan literature and culture. The work is an important addition to the growing body of non-Shakespearean drama available in an accessible form for the twenty-first-century classroom.”—Amy L. Tigner, coauthor of Culinary Shakespeare: Staging Food and Drink in Early Modern England“This edition elegantly situates the play in relation to stage, page, and scaffold, and showcases how the anonymous playwright is in conversation with genres as diverse as scaffold speeches and mothers’ manuals. It also demonstrates how this early modern murder resonates with popular culture today.”—Emma Whipday, author of Shakespeare’s Domestic Tragedies: Violence in the Early Modern Home “A Warning for Fair Women has everything fans of true-crime dramas expect—adulterous sex, family conflict, disputes about money, grisly murder, scheming accomplices, long-winded courtroom speeches, gallows confessions, and lots of blood. Ann Christensen’s spirited edition of this largely unknown Elizabethan play, first performed by Shakespeare’s company, is perfect for class read-arounds or more fully staged performances, with a contextualizing literary and historical framework spot-on for today’s students.”—Merry E. Wiesner-Hanks, author of Women and Gender in Early Modern Europe “This finely executed edition offers a timely rationale for returning A Warning for Fair Women to scholarly conversation. With ties to Shakespeare’s company the play has obvious relevance for repertory studies, but well beyond this it explores social issues of the period related to domestic crime, women and the law, politics and economics, moral instruction and the church, even the occult and the supernatural. It is a play that well repays our attention.”—S. P. Cerasano, Edgar W. B. Fairchild Professor of Literature at Colgate University Table of ContentsList of Illustrations Preface A Note about the Text and Previous Editions Acknowledgments Introduction Cast of Characters A Warning for Fair Women Appendix Arthur Golding’s A briefe discourse of the late Murther of master George Sanders John Stow’s The Annales of England Faithfully Collected Ballad, “The wofull lamentacon [sic] of Mrs. Anne Saunders” Excerpts of Dorothy Leigh’s The Mother’s Blessing Notes Bibliography Index

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Book SynopsisTrade Review"Telltale Women is an important book that will set the terms of scholarly inquiry on these matters for years to come."—Katherine Goodland, Early Modern Women: An Interdisciplinary Journal"Allison Machlis Meyer provides a welcome intervention in a nexus of divergent fields—source studies, feminist criticism, and historiography. By considering the shifting ways in which early modern queens have been represented across genres, Meyer offers a new treatment of the relationship between historical narratives and history plays, making a case for the ways in which history writing—in all of its myriad forms—wrestles productively with larger cultural desires."—Emma Katherine Atwood, Medieval & Renaissance Drama in England"The treatment of histories and plays as intertexts is an exciting, fresh approach that offers new insights and approaches to history scholars."—E. A. Nicol, Choice“Allison Machlis Meyer’s thoughtful and compelling book has in effect given the field two studies it needs badly: an analysis of women’s political roles in early modern narrative historiography and a new examination of how these roles are transformed—and limited—in dramatic representation.”—Dan Breen, associate professor of English at Ithaca College“Meyer’s historically alert and rhetorically savvy argument introduces a novel approach to source studies. Lucidly and engagingly she attends to long-term developments of the early modern chronicle and historical drama genres while richly delineating the contexts of the early authors’ political and personal allegiances and rivalries. Students of gender and book history alike will benefit from this insightful study of the shaping of cultural attitudes toward the political agency of royal women and their use for the consolidation of a citizen-centered English nation.”—Kirilka Stavreva, professor of English at Cornell College and author of Words Like Daggers: Violent Female Speech in Early Modern EnglandTable of ContentsAcknowledgments Introduction: Early Modern Royal Women and the Historical Record 1. A Very Prey to Time: Rewriting Elizabeths in Tudor Historiography and William Shakespeare’s Richard III 2. Your Hope Is Gone: Narrowing the Nation in The True Tragedy of Richard III and Thomas Heywood’s Edward IV 3. From a Noble Lady to an Unnatural Queen: Imagining Queen Isabel in Chronicle History and Christopher Marlowe’s Edward II 4. So Masculine a Stile: Gender and Genre in Elizabeth Cary’s The History of Edward II 5. You Must Be King of Me: Queens and Rivals in Francis Bacon’s The History of King Henry VII and John Ford’s Perkin Warbeck Coda: Double Drowned in the Gulf of Forgetfulness Notes Bibliography Index

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Book Synopsis A Warning for Fair Women is a 1599 true-crime drama from the repertory of Shakespeare’s acting company. While important to literary scholars and theater historians, it is also readable, relevant, and stage-worthy today. Dramatizing the murder of London merchant George Saunders by his wife’s lover, and the trials and executions of the murderer and accomplices, it also sheds light on neighborhood and domestic life and crime and punishment. This edition of A Warning for Fair Women is fully updated, featuring a lively and extensive introduction and covering topics from authorship and staging to the 2018 world revival of the play in the United States. It includes a section with discussion and research questions along with resources on topics raised by the play, from beauty and women’s friendship to the occult. Ann C. Christensen presents a freshly edited text for today’s readers, with in-depth explanatory notes, scene summaries, a galleTrade Review"Editions like A Warning for Women are few and far between: fun, relevant, contextually nuanced, and accessible."—Francesca Bua, Comitatus“Students and scholars alike will find Ann Christensen’s erudite and entertaining new edition of A Warning for Fair Women to be invaluable in the study of Elizabethan literature and culture. The work is an important addition to the growing body of non-Shakespearean drama available in an accessible form for the twenty-first-century classroom.”—Amy L. Tigner, coauthor of Culinary Shakespeare: Staging Food and Drink in Early Modern England“This edition elegantly situates the play in relation to stage, page, and scaffold, and showcases how the anonymous playwright is in conversation with genres as diverse as scaffold speeches and mothers’ manuals. It also demonstrates how this early modern murder resonates with popular culture today.”—Emma Whipday, author of Shakespeare’s Domestic Tragedies: Violence in the Early Modern Home “A Warning for Fair Women has everything fans of true-crime dramas expect—adulterous sex, family conflict, disputes about money, grisly murder, scheming accomplices, long-winded courtroom speeches, gallows confessions, and lots of blood. Ann Christensen’s spirited edition of this largely unknown Elizabethan play, first performed by Shakespeare’s company, is perfect for class read-arounds or more fully staged performances, with a contextualizing literary and historical framework spot-on for today’s students.”—Merry E. Wiesner-Hanks, author of Women and Gender in Early Modern Europe “This finely executed edition offers a timely rationale for returning A Warning for Fair Women to scholarly conversation. With ties to Shakespeare’s company the play has obvious relevance for repertory studies, but well beyond this it explores social issues of the period related to domestic crime, women and the law, politics and economics, moral instruction and the church, even the occult and the supernatural. It is a play that well repays our attention.”—S. P. Cerasano, Edgar W. B. Fairchild Professor of Literature at Colgate University Table of ContentsList of Illustrations Preface A Note about the Text and Previous Editions Acknowledgments Introduction Cast of Characters A Warning for Fair Women Appendix Arthur Golding’s A briefe discourse of the late Murther of master George Sanders John Stow’s The Annales of England Faithfully Collected Ballad, “The wofull lamentacon [sic] of Mrs. Anne Saunders” Excerpts of Dorothy Leigh’s The Mother’s Blessing Notes Bibliography Index

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Book SynopsisFrom West Side Story in 1957 to Road Show in 2008, the musicals of Stephen Sondheim and his collaborators have challenged the conventions of American musical theater and expanded the possibilities of what musical plays can do, how they work, and what they mean. Sondheim''s brilliant array of work, including such musicals as Company, Follies, Sweeney Todd, Sunday in the Park with George, and Into the Woods, has established him as the preeminent composer/lyricist of his, if not all, time.Stephen Sondheim and the Reinvention of the American Musical places Sondheim''s work in two contexts: the exhaustion of the musical play and the postmodernism that, by the 1960s, deeply influenced all the American arts. Sondheim''s musicals are central to the transition from the Rodgers and Hammerstein-style musical that had dominated Broadway stages for twenty years to a new postmodern musical. This new style reclaimed many of the self-aware, perfo

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Book SynopsisThough best known for The Twilight Zone, Rod Serling wrote over 250 scripts for film and TV and won an unmatched six Emmy Awards. In great detail and including never-published insights drawn directly from Serling's personal correspondence, unpublished writings, speeches, and unproduced scripts, Nicholas Parisi explores Serling's body of work.

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Book SynopsisIn Staging Harmony, Katherine Steele Brokaw reveals how the relationship between drama, music, and religious change across England's long sixteenth century moved religious discourse to more moderate positions. It did so by reproducing the complex personal attachments, nostalgic overtones, and bodily effects that allow performed music to evoke the feeling, if not always the reality, of social harmony. Brokaw demonstrates how theatrical music from the late fifteenth to the early seventeenth centuries contributed to contemporary discourses on the power and morality of music and its proper role in religious life, shaping the changes made to church music as well as people's reception of those changes. In representing social, affective, and religious life in all its intricacy, and in unifying auditors in shared acoustic experiences, staged musical moments suggested the value of complexity, resolution, and compromise rather than oversimplified, absolutist binaries worth killing or dTrade Review[Staging Harmony]... is an engaging and historically well-informed work that explores the complex relationship of music and drama over the long sixteenth century, filling in the gaps that result from focusing too narrowly on the Elizabethan commercial theater to the exclusion of early Tudor interludes, Reformist morality plays, schoolboy dramas, and court and household entertainments. -- Jonathan Baldo, Eastman School of Music, University of Rochester * Renaissance Quarterly *Staging Harmony offers a sophisticated account of theatrical engagement with music over a key period of dramatic production, a subtle description of early modern religious cultures, and a rich theorization of music’s role in embodied belief. * EARLY THEATRE *Table of ContentsIntroduction: Theater, Music, and Religion in the Long Sixteenth Century 1. Sacred, Sensual, and Social Music: Wisdom and the Digby Mary Magdalene 2. Musical Hypocrisy: The Plays of John Bale 3. Learning to Sing: The Plays of Nicholas Udall 4. Propaganda and Psalms: Early Elizabethan Drama 5. Sound Effects: Doctor Faustus 6. Arts to Enchant: The Tempest and The Winter's Tale

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Book SynopsisWays of the World explores cosmopolitanism as it emerged during the Restoration and the role theater played in both memorializing and satirizing its implications and consequences. Rooted in the Stuart ambition to raise the status of England through two crucial investmentsglobal traffic, including the slave trade, and cultural sophisticationthis intensified global orientation led to the creation of global mercantile networks and to the rise of an urban British elite who drank Ethiopian coffee out of Asian porcelain at Ottoman-inspired coffeehouses. Restoration drama exposed cosmopolitanism''s most embarrassing and troubling aspects, with such writers as Joseph Addison, Aphra Behn, John Dryden, and William Wycherley dramatizing the emotional and ethical dilemmas that imperial and commercial expansion brought to light.Altering standard narratives about Restoration drama, Laura J. Rosenthal shows how the reinvention of theater in this periodincluding technical innovations Trade ReviewThis well-argued, thought-provoking book argues for the key role of theater in the development of English cosmopolitanism and imperialism during the Restoration and 18th century. Well written and persuasive, the book significantly furthers the study of Restoration theater and its connections to the politics of empire. -- L. S. Stanavage, SUNY Potsdam * Choice *With regard to the study of emotions as culturally and temporally specific phenomena, Ways of the World has much on offer. * Emotions: History, Culture & Society *Table of ContentsIntroduction 1. All Roads Lead to Rhodes: William Davenant, Ottomanphilia, and the Reinvention of Theater in the Restoration 2. Travestie: William Wycherley, the Fop, and the Provincial Girl 3. Indian Queens and the Queen Who Brought the Indies: Dryden, Settle, and the Tragedies of Empire 4. Restoration Legacies: Tragic Monarchs, Exotic and Enslaved 5. "Have You Not Been Sophisticated?": The Afterlife of the Restoration Actress 6. Histories of Their Own Times: Burnet, Cibber, and Rochester Epilogue: Mr. Spectator, Adam Smith, and the New Global Citizenship

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Book SynopsisKatharine Cleland''s Irregular Unions provides the first sustained literary history of clandestine marriage in early modern England and reveals its controversial nature in the wake of the Elizabethan Religious Settlement, which standardized the marriage ritual for the first time. Cleland examines many examples of clandestine marriage across genres. Discussing such classic works as The Faerie Queene, Othello, and The Merchant of Venice, she argues that early modern authors used clandestine marriage to explore the intersection between the self and the marriage ritual in post-Reformation England.The ways in which authors grappled with the political and social complexities of clandestine marriage, Cleland finds, suggest that these narratives were far more than interesting plot devices or scandalous stories ripped from the headlines. Instead, after the Reformation, fictions of clandestine marriage allowed early modern authorsTrade ReviewCleland's book represents an important step forward in contextualizing early modern English literature. This book enriches that scholarship by providing a deeper understanding of the many types of marriages portrayed in early modern literature and how they reflect the social anxieties of the period. Clearly written and tightly argued, the book should be of interest to scholars of literature and history. * Renaissance and Reformation *Table of ContentsIntroduction: Making a Clandestine Match in Early Modern English Literature 1. Reforming Clandestine Marriage in Spenser's Faerie Queene, Book I 2. "Wanton Loves and Young Desires": Marlowe's Hero and Leander and Chapman's Continuation 3. Sacred Ceremonies and Private Contracts in Spenser's Epithalamion and Shakespeare's A Lover's Complaint 4. "Lorenzo and His Infidel": Elopement and the Cross-Cultural Household in Shakespeare's Merchant of Venice 5. "Are You Fast Married?": Elopement and Turning Turk in Shakespeare's Othello Conclusion: Incestuous Clandestine Marriage in John Ford's 'Tis Pity She's a Whore

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Book SynopsisUnfixable Forms explores how theatrical form remakesand is in turn remade byearly modern disability. Figures described as deformed, lame, crippled, ugly, sick, and monstrous crowd the stage in English drama of the sixteenth and seventeenth centuries. In each case, such a description distills cultural expectations about how a body should look and what a body should doyet, crucially, demands the actor''s embodied performance. In the early modern theater, concepts of disability collide with the deforming, vulnerable body of the actor. Reading dramatic texts alongside a diverse array of sources, ranging from physic manuals to philosophical essays to monster pamphlets, Katherine Schaap Williams excavates an archive of formal innovation to argue that disability is at the heart of the early modern theater''s exploration of what it means to put the body of an actor on the stage. Offering new interpretations of canonical works by William Shakespeare, Ben JoTrade ReviewUnfixable Forms marks a milestone in disability studies. It is an essential book that prompts readers to think about, and cultivate a desire for, human difference. * Modern Philology *Table of ContentsIntroduction: Unfixing Early Modern Disability 1. Deformed: Wanting to See Richard III 2. Citizen Transformed: Being the Lame Soldier 3. Performing Cripple in Theatrical Exchange 4. Changing the Ugly Body 5. Playing Time, or Sick of Feigning 6. Making the Monster Coda: Inviting Performance

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Book SynopsisHow to Do Things with Dead People studies human contrivances for representing and relating to the dead. Alice Dailey takes as her principal objects of inquiry Shakespeare''s English history plays, describing them as reproductive mechanisms by which living replicas of dead historical figures are regenerated in the present and re-killed. Considering the plays in these terms exposes their affinity with a transhistorical array of technologies for producing, reproducing, and interacting with dead thingstechnologies such as literary doppelgängers, photography, ventriloquist puppetry, X-ray imaging, glitch art, capital punishment machines, and cloning. By situating Shakespeare''s historical drama in this intermedial conversation, Dailey challenges conventional assumptions about what constitutes the context of a work of art and contests foundational models of linear temporality that inform long-standing conceptions of historical periodization and teleological ordTable of ContentsIntroduction: The Luminous Spiral and the Cigarette Box, or Technologies of the Afterdeath 1. Little, Little Graves: Shakespeare's Photographs of Richard II 2. Haunted Histories: Dramatic Double Exposure in Henry IV, Parts One and Two 3. Dummies and Doppelgängers: Performing for the Dead in 1 Henry VI 4. The King Machine: Reproducing Sovereignty in 3 Henry VI 5. Fuck Off and Die: The Queercrip Reign of Richard III Postscript: Lazarus Again

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