Medieval and Renaissance Drama in England is an annual volume committed to the publication of essays and reviews related to English drama and theatre history to 1642. An internationally recognized board of scholars oversees the publication of MaRDiE. Readers who wish to deepen their understanding of early drama will find that the journal publishes wide-ranging discussions not only of plays and early performance history, but of topics relating to cultural history, as well as manuscript studies and the history of printing.

Robert Greene, contemporary of Shakespeare and Marlowe and member of the group of six known as the "University Wits," is the subject of this essay collection, the first to be dedicated solely to his work. Although in his short lifetime Greene published some three dozen prose works, composed at least five plays, and was one of the period's most recognized-even notorious-literary figures, his place within the canon of Renaissance writers has been marginal at best. Writing Robert Greene offers a reappraisal of Greene's career and of his contribution to Elizabethan culture. Rather than drawing lines between Greene's work for the pamphlet market and for the professional theatres, the essays in the volume imagine his writing on a continuum. Some essays trace the ways in which Greene's poetry and prose navigate differing cultural economies. Others consider how the full spectrum of his writing contributes to an emergent professional discourse about popular print and theatrical culture. The volume includes an annotated bibliography of recent scholarship on Greene and three valuable appendices (presenting apocrypha; edition information; and editions organized by year of publication).

Revises current thinking about how genre operates in early modern theatre Discusses generic change and innovation across a broad range of genres Discusses both well-known plays and lesser-known texts to make its case about genre and changePresents an historical account of generic change This book investigates generic change in early modern theatre across multiple genres, unlike much other scholarship, attempting to understand change and innovation in terms of competition within the dramatic field. It draws on the work of Bakhtin and Bourdieu as well as theatre history, book history, and literary criticism to advance its argument about generic change and innovation.