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Atypical demonstratives have not received adequate attention in the
literature so far, or have even been completely neglected. By
providing fresh insights and discussing new facets, this volume
contributes to the better understanding of this group of words,
starting from specific empirical phenomena, and advances our
knowledge of the various properties of demonstratives, their
syntactic multi-functionality, semantic feature specifications and
pragmatic functions. In addition, some of the papers discuss
different grammaticalization processes involving demonstratives, in
particular how and from which lexical and morphosyntactic
categories they originate cross-linguistically, and which semantic
or pragmatic mechanisms play which role in their emergence. As
such, the different contributions guide the readers on an
adventurous journey into the realm of different exotic species of
demonstratives, whose peculiar properties offer new exiting
insights into the complex nature of demonstrative expressions
themselves.
This collection of essays focuses attention on the broad issue of
Renaissance textuality. It explores such topics as the position of
the reader relative to the text; the impact of editorial strategies
and modes of presentation on our understanding of the text; the
complexities of extended textual histories; and the relevance of
gender to the process of textual retrieval and preservation. The
volume is closely informed by recent developments in textual theory
which have led to a probing interrogation of traditional
understandings of the early modern textual world and of how we
should edit, disseminate and encounter the Renaissance text in our
own time. The essays, whilst informed by contemporary theory, are
not dominated by a single programmatic viewpoint. Reflecting the
multiplicitous nature of Renaissance textuality, the collection
provides space for a variety of different positions and lines of
analysis and enquiry. The Renaissance text will be of interest to
those with specialist concerns in editing, textuality and
bibliography, and will also be of interest to those more generally
concerned with Renaissance literature or with textual or literary
history. Contributors include Gary Taylor, Stephen Orgel, Peter
Stallybrass, Leah S. Marcus and John Pitcher.
Beginning by mapping out an overview of the expansion of elementary
education in Britain across the nineteenth century, Andrew Murphy
explores, for the first time, the manner in which Shakespeare
acquired a working-class readership. He traces developments in
publishing which meant that editions of Shakespeare became ever
cheaper as the century progressed. Drawing on more than a hundred
published and manuscript autobiographical texts, the book examines
the experiences of a wide range of working-class readers.
Particular attention is focused on a set of radical readers for
whom Shakespeare's work had a special political resonance. Murphy
explores the reasons why the playwright's working-class readership
began to fall away from the turn of the century, noting the
competition he faced from professional sports, the cinema, radio
and television. The book concludes by asking whether it matters
that, in our own time, Shakespeare no longer commands a general
popular audience.
Shakespeare and Scotland is a timely collection of new essays in
which leading scholars on both sides of the Atlantic address a
neglected national context for an exemplary body of dramatic work
too often viewed within a narrow English milieu or against a broad
British backdrop. These essays explore, from a variety of critical
perspectives, the playwright's place in Scotland and the place of
Scotland in his work. From critical reception to dramatic and
cinematic adaptation, the contributors engage with the complexity
of Shakespeare's Scotland and Scotland's Shakespeare. The influence
of Scotland on Shakespeare's writing, and later on his reception,
is set alongside the dramatic effects that Shakespeare's work had
on the development of Scottish literature, from the Globe to
globalisation, and from Captain Jamy and King James to radical
productions at the Citizens' Theatre in Glasgow. -- .
The Nation and British Literature and Culture charts the emergence
of Britain as a political, social and cultural construct, examining
the manner in which its constituent elements were brought together
through a process of amalgamation and conquest. The fashioning of
the nation through literature and culture is examined, as well as
counter narratives that have sought to call national orthodoxies
into question. Specific topics explored include the emergence of a
distinctively national literature in the early modern period; the
impact of French Revolution on conceptions of Britishness;
portrayals of empire in popular and literary fiction; popular music
and national imagining; the marginalisation and oppression of
particular communities within the nation. The volume concludes by
asking what implications an extended set of contemporary crises
have for the ongoing survival both of the United Kingdom, both as a
political unit and as a literary and cultural point of identity.
The "Shakespearean Originals" series aims to provide readers of
modern drama with 16th- and 17th-century playtexts which have been
treated as historical documents, and are reproduced as closely to
their original printed forms as the conditions of modern
publication will permit. Each volume in the series comprises a
general series introduction, an introduction to the play, the
original text, a select bibliography, full annotations and some
sample facsimile pages from the text itself.
The emergence of an Irish 'common reader' in the nineteenth century
had significant implications for the evolution of Irish cultural
nationalism. The rise of literacy rates prompted a cultural crisis,
with nationalists fearing that the beneficiaries of mass education
were being drawn to populist publications emanating from London
which were having the effect of eroding Irish identity and
corrupting Irish morals. This fear prompted an intensification of
cultural nationalist activity at the turn of the century. Andrew
Murphy's study, which includes a chapter on W. B. Yeats and the
Irish reader, moves freely between historical and literary
analysis, and demonstrates how a developing sense of cultural
crisis served as an engine for the Irish literary revival.
Examining responses to Irish reading habits advanced by a wide
range of cultural commentators, Murphy provides a nuanced
discussion of theories of nationalism and examines attempts finally
to control reading habits through the introduction of censorship.
Beginning by mapping out an overview of the expansion of elementary
education in Britain across the nineteenth century, Andrew Murphy
explores the manner in which Shakespeare acquired a working-class
readership. He traces developments in publishing which meant that
editions of Shakespeare became ever cheaper as the century
progressed. Drawing on more than a hundred published and manuscript
autobiographical texts, the book examines the experiences of a wide
range of working-class readers. Particular attention is focused on
a set of radical readers for whom Shakespeare's work had a special
political resonance. Murphy explores the reasons why the
playwright's working-class readership began to fall away from the
turn of the century, noting the competition he faced from
professional sports, the cinema, radio and television. The book
concludes by asking whether it matters that, in our own time,
Shakespeare no longer commands a general popular audience.
Shakespeare in Print is a comprehensive 2003 account of Shakespeare
publishing and an indispensable research resource. Andrew Murphy
sets out the history of the Shakespeare text from the Renaissance
through to the twenty-first century, from the twin perspectives of
editing and publishing history. Murphy tackles issues of editorial
and textual theory in an accessible and engaging manner. He draws
on a wide range of archival materials and attends to topics little
explored by previous scholars, such as the importance of Scottish
and Irish editions in the eighteenth century, the rise of the
educational edition and the history and significance of mass-market
editions. The extensive appendix is an invaluable reference tool
which provides full publishing details of all single-text
Shakespeare editions up to 1709 and all collected editions up to
1821. The listing also provides details of a selected range of
major editions beyond these dates to the present day.
This comprehensive reference surveys the editing and publishing of Shakespeare's texts from the Renaissance through our own time. Andrew Murphy not only covers all of the major scholarly editions. He also includes mass market popular editions and ranges widely across the rich field of Shakespeare publishing. Murphy's comprehensive listing of major Shakespeare editions makes this volume an invaluable basic research resource.
Described by the TLS as 'a formidable bibliographical achievement
... destined to become a key reference work for Shakespeareans',
Shakespeare in Print is now issued in a revised and expanded
edition offering a wealth of new material, including a chapter
which maps the history of digital editions from the earliest
computer-generated texts to the very latest digital resources.
Murphy's narrative offers a masterful overview of the history of
Shakespeare publishing and editing, teasing out the greater
cultural significance of the ways in which the plays and poems have
been disseminated and received over the centuries from
Shakespeare's time to our own. The opening chapters have been
completely rewritten to offer close engagement with the careers of
the network of publishers and printers who first brought
Shakespeare to print, additional material has been added to all
chapters, and the chronological appendix has been updated and
expanded.
The Cambridge Guide to the Worlds of Shakespeare aims to replicate
the expansive reach of Shakespeare's global reputation. In pursuit
of that vision, this work is transhistorical, international and
interdisciplinary. Volume 1, Shakespeare's World, 1500-1660,
includes a comprehensive survey of the world in which Shakespeare
and his contemporaries lived, while Volume 2, The World's
Shakespeare, 1660-Present, examines what the world has made of
Shakespeare as a cultural icon over the past four centuries. For
each of the work's twenty-eight broad subject areas, ranging from
translation to popular culture to performing arts, an overview is
followed by a series of shorter essays taking up particular aspects
of the subject at hand. Richly illustrated with more than three
hundred images between the two volumes, this work brings the world,
life and afterlife of Shakespeare to readers, from non-academic
Shakespeare fans and students to theater professionals and
Shakespeare scholars.
This reprint includes the first five generations of John Muse of
Westmoreland County, Virginia and his descendants. Over 1,000 Muse
family ancestors are identified, with sixty-two documented
biographies, listings of children, grandchildren and marriages.
Also includes information on Muse family research sources, the Muse
family English connection, the Muse and Washington family
connection. This 2012 reprint also includes six pages of additions
and corrections to the 1994 edition. Fully indexed.
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