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This year publishing its twentieth volume, The Shakespearean
International Yearbook surveys the present state of Shakespeare
studies, addressing issues that are fundamental to our interpretive
encounter with Shakespeare’s work and his time, across the whole
spectrum of his literary output. Contributions are solicited from
scholars across the field, from both hemispheres of the globe. New
trends are evaluated from the point of view of established
scholarship, and emerging work in the field is encouraged. Each
issue includes a special section under the guidance of a specialist
Guest Editor, along with coverage of the current state of the field
in other aspects. An essential reference tool for scholars of early
modern literature and culture, this annual publication captures,
from year to year, current and developing thought in Shakespeare
scholarship and theater practice worldwide. There is a particular
emphasis on Shakespeare studies in global contexts.
The Afterlife of Ophelia presents Ophelia in a broader and more
comprehensive range of contexts than previous scholarship and
forges connections among fields that are typically pursued as
separate lines of inquiry within Shakespeare studies, including:
film and new media studies; theatre and performance studie;
historicist and contextual perspectives; and studies of popular
culture--
This collection of new essays is the first to explore the rich
afterlife of one of Shakespeare's most recognizable characters.
With contributions from an international group of established and
emerging scholars, The Afterlife of Ophelia moves beyond the
confines of existing scholarship and forges new lines of inquiry
beyond Shakespeare studies.
What did childhood mean in early modern England? To answer this
question, this book examines two key contemporary institutions: the
school and the stage. The rise of grammar schools and universities,
and of the professional stage featuring boy actors, reflect the
culture's massive investment in children. In this collection, an
international group of well-respected scholars examines how the
representation of children by major playwrights and poets reflected
the period's educational and cultural values. This book contains
chapters that range from Shakespeare and Ben Jonson to the
contemporary plays of Tom Stoppard, and that explore childhood in
relation to classical humanism, medicine, art, and psychology,
revealing how early modern performance and educational practices
produced attitudes to childhood that still resonate to this day.
This collection of original essays is dedicated to exploring the
intersections between medieval and postcolonial studies. Ranging
across a variety of academic disciplines, from art history to
cartography, and from Anglo-Saxon to Hispanic studies, this volume
highlights the connections between medieval and postcolonial
studies through the exploration of a theme common to both areas of
study: translation as a mechanism of and metaphor for cultures in
contact, confrontation and competition. Drawing upon the widespread
medieval trope of the translation of empire and culture, this
collection engages the concept of translation from its most narrow,
lexicographic sense, to the broader applications of its literal
meaning, to carry across. It carries the multilingual,
multicultural realities of medieval studies to postcolonial
analyses of the coercive and subversive powers of cultural
translation, offering a set of case studies of translation as the
transfer of language, culture and power.
What was the impact of the Norman Conquest on the culture of
medieval and early modern England? Deanne Williams answers this
question by contending that not only French language and
literature, but the idea of Frenchness itself, produced England's
literary and cultural identity. Examining a variety of English
representations of, and responses to, France and 'the French' in
the work of Chaucer, Caxton, Skelton, Shakespeare and others, this
book shows how English literature emerged out of a simultaneous
engagement with, and resistance to, the pervasive presence of
French language and culture in England that was the legacy of the
Norman Conquest. Drawing upon theories of gender and
postcoloniality, this book revises traditional notions of English
literary history by inserting France as a primary element in
English self-fashioning, from Chaucer's Prioress to Shakespeare's
Henry V.
This collection of original essays is dedicated to exploring the
intersections between medieval and postcolonial studies. Ranging
across a variety of academic disciplines, from art history to
cartography, and from Anglo-Saxon to Hispanic studies, this volume
highlights the connections between medieval and postcolonial
studies through the exploration of a theme common to both areas of
study: translation as a mechanism of and metaphor for cultures in
contact, confrontation and competition. Drawing upon the widespread
medieval trope of the translation of empire and culture, this
collection engages the concept of translation from its most narrow,
lexicographic sense, to the broader applications of its literal
meaning, to carry across. It carries the multilingual,
multicultural realities of medieval studies to postcolonial
analyses of the coercive and subversive powers of cultural
translation, offering a set of case studies of translation as the
transfer of language, culture and power.
What was the impact of the Norman Conquest on the culture of
medieval and early modern England? Deanne Williams answers this
question by contending that not only French language and
literature, but the idea of Frenchness itself, produced England's
literary and cultural identity. Examining a variety of English
representations of, and responses to, France and 'the French' in
the work of Chaucer, Caxton, Skelton, Shakespeare and others, this
book shows how English literature emerged out of a simultaneous
engagement with, and resistance to, the pervasive presence of
French language and culture in England that was the legacy of the
Norman Conquest. Drawing upon current theories of gender and
postcoloniality, this book revises traditional notions of English
literary history by inserting France as a primary element in
English self-fashioning, from Chaucer's Prioress to Shakespeare's
Henry V.
Deanne Williams offers the very first study of the medieval and
early modern girl actor. Whereas previous histories of the actress
begin with the Restoration, this book demonstrates that the girl is
actually a well-documented category of performer and a key
participant in the drama of the Middle Ages and Renaissance. It
explores evidence of the girl actor in archival records of payment,
eyewitness accounts, stage directions, paintings, and in the plays
and masques that were explicitly composed for girls, and, in some
cases, by them. Contradicting previous scholarly assumptions about
the early modern stage as male-dominated, this evidence reveals
girls’ participation in medieval religious drama, Tudor civic
pageants and royal entries, Elizabethan country house
entertainments, and Stuart court and household masques. This book
situates its historical study of the girl actor within the wider
contexts of 'girl culture', including girls as singers, translators
and authors. By examining the impact of the girl actor on
constructions of girlhood in the work of Shakespeare – whose girl
characters register and evoke the power of the performing girl –
Girl Culture in the Middle Ages and Renaissance argues that
girls’ dramatic, musical and literary performances actively
shaped medieval and early modern culture. It shows how the active
presence and participation of girls shaped medieval and Renaissance
culture, and it reveals how some of its best-known literary and
dramatic texts address, represent, and reflect upon girl children,
not as an imagined ideal, but as a lived reality.
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