This interdisciplinary project draws on a wealth of sources (visual, material, literary and theatrical) to examine Austen's depiction of female performance, display and desire through her deployment of a culturally and symbolically charged accessory: the muff.

This book lays bare the dialogue between Shakespeare and critics of the stage, and positions it as part of an ongoing cultural, ethical, and psychological debate about the effects of performance on actors and on spectators. In so doing, the book makes a substantial contribution both to the study of representations of theatre in Shakespeare's plays and to the understanding of ethical concerns about acting and spectating-then, and now. The book opens with a comprehensive and coherent analysis of the main early modern English anxieties about theatre and its power. These are read against 20th- and 21st-century theories of acting, interviews with actors, and research into the effects of media representation on spectator behaviour, all of which demonstrate the lingering relevance of antitheatrical claims and the personal and philosophical implications of acting and spectating. The main part of the book reveals Shakespeare's responses to major antitheatrical claims about the powerful effects of poetry, music, playacting, and playgoing. It also demonstrates the evolution of Shakespeare's view of these claims over the course of his career: from light-hearted parody in A Midsummer Night's Dream, through systematic contemplation in Hamlet, to acceptance and dramatization in The Tempest. This study will be of great interest to scholars and students of theatre, English literature, history, and culture.

This volume analyzes early modern cultural representations of children and childhood through the literature and drama of Shakespeare and his contemporaries. Contributors include leading international scholars of the English Renaissance whose essays consider asexuals and sodomites, roaring girls and schoolboys, precocious princes and raucous tomboys, boy actors and female apprentices, while discussing a broad array of topics, from animal studies to performance theory, from queer time to queer fat, from teaching strategies to casting choices, and from metamorphic sex changes to rape and cannibalism. The collection interrogates the cultural and historical contingencies of childhood in an effort to expose, theorize, historicize, and explicate the spectacular queerness of early modern dramatic depictions of children.

In Peter Handke's play Kaspar, a young man is forced to learn to speak: a process that is a form of physical torture to him. In Jane Austen's Mansfield Park, the young heroine desires to keep as silent as possible, since speech directed at her causes such pain. We are not allowed to remain silent, even when the cost of speech is torture and pain.
Silence and Subject in Modern Literature uses a wide variety of texts from forms such as the modern crime novel, via popular classics from authors such as Jane Austen, to avant-garde plays by Samuel Beckett and Handke, to study literary representations of the power relations in which we are forced to speak. Informed by critical theory by Foucault and Bakhtin among others, and touching on fields as diverse as rhetoric, feminism, and the concept of literature, Silence and Subject in Modern Literature engages closely with a central issue in modern life: spoken violence.

This is the second volume in Sources of Dramatic Theory. This volume includes the major theoretical writing on drama and theatre from the eighteenth and early nineteenth centuries, focusing on issues that are still relevant to our understanding of drama and theatre. Among the writers represented by their own essays or substantial extracts from longer works are: Voltaire, Diderot, Goldoni, Dr Johnson, Lessing, Goethe, Schiller, Hegel, and Coleridge. Many of the texts have been freshly translated for this volume and all have been newly annotated and introduced. Recurrent topics and allusions are traced by a system of cross-references.

Published here for the first time, Maura Laverty’s plays Liffey Lane, Tolka Row and A Tree in the Crescent are rooted in 1950s Dublin, its territories and enclaves. Teeming with the lives of the poor, the ambitious, the trapped and the struggling, the plays are moving, funny and vividly alive. They capture the capital in a state of transformation – reaching for modernisation while still enmired in stagnant class divisions, poor housing and narrow social values. Key to all three plays are questions of home, the lives of women and girls, and the impact of conservative government policies and church attitudes. Already a public figure in Irish life, and an influencer before her time through her fiction, cookery books and broadcasting, Laverty’s plays met with huge success when staged in 1951 and 1952 by Hilton Edwards of the Gate Theatre Company at Dublin’s Gaiety and Gate Theatres and on tour. Laverty’s trilogy is a significant and long-awaited part of the twentieth-century Irish theatrical canon. This volume presents the Trilogy, including a preface by Christopher Fitz-Simon, who knew and worked with Laverty. The editors’ introduction contextualises Laverty’s work and considers the theatrical values of the plays.

This book presents an important re-theorisation of gender and anti-Semitism in medieval biblical drama. It charts conflicts staged between dramatic personae in plays that represent theological transitions, including the Incarnation, Flood, Nativity and Bethlehem slaughter. Interrogating the Christian preoccupation with what it asserted was a superseded Jewish past, it asks how models of supersession and typology are subverted when placed in dramatic dialogue with characters who experience time differently. The book employs theories of gender, performance, anti-Semitism, queer theory and periodisation to complicate readings of early theatre's biblical matriarchs and patriarchs. Dealing with frequently taught plays as well as less familiar material, the book is essential reading for specialist, undergraduate and postgraduate researchers working on medieval performance, gender and queer studies, Jewish-Christian studies and time. -- .

The Drama of Reform establishes the impact of late medieval and early modern religious reform on dramaturgy. Taking an interdisciplinary approach, it examines the interactions between theatricality and theology across a range of different plays including the Croxton Play of the Sacrament, Jacke Jugeler, John Bale's Three Laws, and Lewis Wager's Life and Repentaunce of Mary Magdalene. Tracing the development of arguments concerning the interpretation of the sacraments, the relationship between priests and players, and the use and abuse of imagery and drama in religious worship, The Drama of Reform draws on a rich variety of contextual materials including liturgical texts, heresy trial accounts, dramatic treatises, polemical tracts, and religious laws. Focussed on the period between Archbishop Arundel's Constitutions in the fifteenth century and Archbishop Cranmer's second Book of Common Prayer in the sixteenth, The Drama of Reform explores the phenomenological similarities between drama and certain religious rites, notably the eucharist, and proposes that religious reform prompted attempts to reform dramaturgy. In presenting this analysis, the author argues that while drama continued to function as dramatic propaganda, efforts to initiate new modes of playing were only partially successful.

This authoritative edition of Milton's great epic, Paradise Lost, presents the poem in the original language (spelling and punctuation) of its 1674 publication. It thereby recovers pronunciations, sonorities, and rhythms often lost in modernized editions. Barbara K. Lewalski offers readers the opportunity to experience the brilliance and beauty of Paradise Lost as that poem was experienced by Milton's contemporaries.
Beginning with a brief historical and critical introduction, Lewalski also provides judicious explanatory annotations that clarify names and places, identify biblical and literary allusions, and gloss unfamiliar words. She includes as well a textual apparatus of variant readings, a select bibliography, and several illustrations from the 1688 Folio edition.
Lewalski's Paradise Lost is the first of three paperback volumes presenting authoritative texts of the complete poetry and major prose of John Milton in original language, thereby making these texts readily available to students and scholars.

This book combines the insights of thirteen Shavian scholars as they examine the themes of marriage, relationships and partnerships throughout all of Bernard Shaw's major works. It also connects Shaw's own experiences of love and marriage to the themes that emerge in his works, showing how his personal relationships in and out of matrimonial bonds change the ways his characters enter and exit marriages and misalliances. While providing a wealth of new analysis, this collection of essays also leaves lingering questions for the reader to spark continuing dialogue in both individual and academic settings.

The influence of the Roman poet Horace on Ben Jonson has often been acknowledged, but never fully explored. Discussing Jonson's Horatianism in detail, this study also places Jonson's densely intertextual relationship with Horace's Latin text within the broader context of his complex negotiations with a range of other 'rivals' to the Horatian model including Pindar, Seneca, Juvenal and Martial. The new reading of Jonson's classicism that emerges is one founded not upon static imitation, but rather a lively dialogue between competing models an allusive mode that extends into the seventeenth-century reception of Jonson himself as a latter-day 'Horace'. In the course of this analysis, the book provides fresh readings of many of Jonson's best known poems - including 'Inviting a Friend to Dinner' and 'To Penshurst' - as well as a new perspective on many lesser known pieces, and a range of unpublished manuscript material.

Sir Richard Jebb's seven-volume edition of the works of Sophocles, published between 1883 and 1896, remains a landmark in Greek scholarship. Jebb (1841 1905) was the most distinguished classicist of his generation, a Fellow of Trinity College, Cambridge, and University Orator, subsequently Professor of Greek at Glasgow University and finally Regius Professor of Greek at Cambridge, and a Member of Parliament for the University. Each volume of the edition contains an introductory essay, a metrical analysis, an indication of the sources used to establish the text, and the ancient summaries ('arguments') of the play. The text itself is given with a parallel English translation, textual collation and explanatory notes, and an appendix consisting of expanded notes on some of the textual issues. The quality of Jebb's work means that his editions are still widely consulted today. This volume contains Oedipus Tyrannus.

Sir Richard Jebb's seven-volume edition of the works of Sophocles, published between 1883 and 1896, remains a landmark in Greek scholarship. Jebb (1841-1905) was the most distinguished classicist of his generation, a Fellow of Trinity College, Cambridge, and University Orator, subsequently Professor of Greek at Glasgow University and finally Regius Professor of Greek at Cambridge, and a Member of Parliament for the University. Each volume of the edition contains an introductory essay, a metrical analysis, an indication of the sources used to establish the text, and the ancient summaries ('arguments') of the play. The text itself is given with a parallel English translation, textual collation and explanatory notes, and an appendix consisting of expanded notes on some of the textual issues. The quality of Jebb's work means that his editions are still widely consulted today. This volume contains Oedipus Coloneus.

Sir Richard Jebb's seven-volume edition of the works of Sophocles, published between 1883 and 1896, remains a landmark in Greek scholarship. Jebb (1841-1905) was the most distinguished classicist of his generation, a Fellow of Trinity College, Cambridge, and University Orator, subsequently Professor of Greek at Glasgow University and finally Regius Professor of Greek at Cambridge, and a Member of Parliament for the University. Each volume of the edition contains an introductory essay, a metrical analysis, an indication of the sources used to establish the text, and the ancient summaries ('arguments') of the play. The text itself is given with a parallel English translation, textual collation and explanatory notes, and an appendix consisting of expanded notes on some of the textual issues. The quality of Jebb's work means that his editions are still widely consulted today. This volume contains Antigone.

Sir Richard Jebb's seven-volume edition of the works of Sophocles, published between 1883 and 1896, remains a landmark in Greek scholarship. Jebb (1841-1905) was the most distinguished classicist of his generation, a Fellow of Trinity College, Cambridge, and University Orator, subsequently Professor of Greek at Glasgow University and finally Regius Professor of Greek at Cambridge, and a Member of Parliament for the University. Each volume of the edition contains an introductory essay, a metrical analysis, an indication of the sources used to establish the text, and the ancient summaries ('arguments') of the play. The text itself is given with a parallel English translation, textual collation and explanatory notes, and an appendix consisting of expanded notes on some of the textual issues. The quality of Jebb's work means that his editions are still widely consulted today. This volume contains Philoctetes.

Sir Richard Jebb's seven-volume edition of the works of Sophocles, published between 1883 and 1896, remains a landmark in Greek scholarship. Jebb (1841-1905) was the most distinguished classicist of his generation, a Fellow of Trinity College, Cambridge, and University Orator, subsequently Professor of Greek at Glasgow University and finally Regius Professor of Greek at Cambridge, and a Member of Parliament for the University. Each volume of the edition contains an introductory essay, a metrical analysis, an indication of the sources used to establish the text, and the ancient summaries ('arguments') of the play. The text itself is given with a parallel English translation, textual collation and explanatory notes, and an appendix consisting of expanded notes on some of the textual issues. The quality of Jebb's work means that his editions are still widely consulted today. This volume contains Trachiniae.

Sir Richard Jebb's seven-volume edition of the works of Sophocles, published between 1883 and 1896, remains a landmark in Greek scholarship. Jebb (1841-1905) was the most distinguished classicist of his generation, a Fellow of Trinity College, Cambridge, and University Orator, subsequently Professor of Greek at Glasgow University and finally Regius Professor of Greek at Cambridge, and a Member of Parliament for the University. Each volume of the edition contains an introductory essay, a metrical analysis, an indication of the sources used to establish the text, and the ancient summaries ('arguments') of the play. The text itself is given with a parallel English translation, textual collation and explanatory notes, and an appendix consisting of expanded notes on some of the textual issues. The quality of Jebb's work means that his editions are still widely consulted today. This volume contains Electra.

Sir Richard Jebb's seven-volume edition of the works of Sophocles, published between 1883 and 1896, remains a landmark in Greek scholarship. Jebb (1841-1905) was the most distinguished classicist of his generation, a Fellow of Trinity College, Cambridge, and University Orator, subsequently Professor of Greek at Glasgow University and finally Regius Professor of Greek at Cambridge, and a Member of Parliament for the University. Each volume of the edition contains an introductory essay, a metrical analysis, an indication of the sources used to establish the text, and the ancient summaries ('arguments') of the play. The text itself is given with a parallel English translation, textual collation and explanatory notes, and an appendix consisting of expanded notes on some of the textual issues. The quality of Jebb's work means that his editions are still widely consulted today. This volume contains Ajax.

This book (hardcover) is part of the TREDITION CLASSICS. It contains classical literature works from over two thousand years. Most of these titles have been out of print and off the bookstore shelves for decades. The book series is intended to preserve the cultural legacy and to promote the timeless works of classical literature. Readers of a TREDITION CLASSICS book support the mission to save many of the amazing works of world literature from oblivion. With this series, tredition intends to make thousands of international literature classics available in printed format again - worldwide.

Originally published in 1988, John Ford: Critical Re-Visions offers a wholesale reconsideration of the reputation of a major Caroline playwright. The volume takes an historical perspective and offers a better understanding of Ford's achievement in the light of the theatrical and social conditions of his own day. The collection of essays was assembled for the 400th anniversary of the playwright's birth. The contributors, well known scholars in the field, work from a variety of critical positions: insights associated with a new historicist, feminist, structuralist and post-structuralist theory are represented, together with more traditional approaches. The essays range from detailed readings of the individual plays, including 'Tis Pity She's a Whore, Perkin Warbeck, Love's Sacrifice and The Lady's Trial to more wide-ranging studies of imagery and theatrical convention; several help to illuminate our understanding of Ford's plays in the theatre of his own time, while another offers a detailed account of post-war stage, film and television productions.

In their sparse and isolated spaces, Samuel Beckett's figures imagine the touch of a lost love or dream of the comfort and care that the hands of a dear one might bring. Applying philosophical writings that feature sensation, particularly touch, Trish McTighe examines how Beckett's later work for stage and screen dramatizes moments of contact between self and self, self and world, and self and other. With implications for how gender and ethics can be approached within Beckett's aesthetic, this study explores the employment of haptic imagery as an alternative to certain dominant codes of visual representation.

Don Pedro Calderon de la Barca (1600 81) is Spain's most important early modern dramatist. His varied career as a playwright, courtier, soldier and priest placed him at the heart of Spanish culture, and he reflected on contemporary events in his plays, most famously La vida es sueno (Life is a Dream). In this 2009 scholarly biography of Calderon in English, Don Cruickshank uses his command of the archival sources and his unparalleled understanding of Calderon's work to chart his life and his political, literary and religious contexts. In addition, the book includes much fresh research into Calderon's writings and their attributions. This elegant, erudite work will bring Calderon to a new audience both within and beyond Spanish studies. With illustrations, extensive notes and a detailed index, this is the most comprehensive English-language book on Calderon, and it will long remain the key work of reference on this important author.

This book (hardcover) is part of the TREDITION CLASSICS. It contains classical literature works from over two thousand years. Most of these titles have been out of print and off the bookstore shelves for decades. The book series is intended to preserve the cultural legacy and to promote the timeless works of classical literature. Readers of a TREDITION CLASSICS book support the mission to save many of the amazing works of world literature from oblivion. With this series, tredition intends to make thousands of international literature classics available in printed format again - worldwide.

Published in 1987, this book was the first full-length interpretative study in English of the later writings of the outstanding Soviet novelist and playwright Mikhail Bulgakov (1891-1940). The focus is the 1930s, the period when Bulgakov was writing The Master and Margarita, an extraordinary novel that has had a profound impact in the Soviet Union and which is now generally regarded as his masterpiece. Using material from Soviet archives and libraries, Dr Curtis suggests that Bulgakov's fundamental preoccupation in this movel with the destiny of literature and of the writer is reflected in other major works of the same period, in particular his writings on Pushkin and Moliere. Bulgakov emerges as a belated romantic, a figure unique on the early Soviet literacy scene.