The Yearbook of English Studies 2013 is devoted to early English
drama, ranging from what is generally understood as 'medieval' to
plays of the early Tudor period, while also including chapters on
modern theatrical responses to the surviving corpus of texts. The
volume is edited by Pamela King (Professor of English at the
University of Glasgow), Sue Niebrzydowski (Senior Lecturer in
Medieval English Literature at Bangor University, Wales) and Diana
Wyatt (Research Associate at the University of Durham). This rich
and varied collection is deliberately loosely ordered in order to
encourage the reader to think again about the old canonical
categories, particularly 'mysteries' and 'moralities'. The authors
lead the reader to engage with recent scholarship in the field
which has, for example, drawn on archival research into lost plays
to question old certainties about genre, about chronology, and
about evolution, and which has taken another look at surviving
texts in ways that resist categorization, and found them to be more
problematic than hitherto assumed. This volume does not aim to
offer coverage of new work in a known field, so there is, for
example, no essay dedicated to the York Cycle, although references
to it are shot through the whole. Rather, individual chapters
reflect not only their authors' specialist sub-fields but also a
variety of approaches, from the study of sources and the
materiality of surviving witnesses to the texts, to various
critical readings and approaches, to studies in the history of
staging. In addition, essays on modern productions stake the claim
for a new and distinct area in the study of medievalism, as modern
authors and producers draw inspiration from the original early
scripts. The reader will encounter old favourites in this volume -
the Towneley Plays, the Chester Cycle, The Castle of Perseverance,
Ane Satyre of the Thrie Estaitis, to name a few - as well as
Bewnans Ke, the Cornish saint's play discovered only in 1999, and
an intriguing mixture of hagiography and Arthuriana. Equally, the
reader will be led to reconsider some lesser-read texts and to
encounter traces of wonderful plays which have been lost forever.
Overall, the volume seeks to engage with a dramatic tradition which
was at once richer and more varied than has been conventionally
imagined.
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