This book will constitute an original intervention into longstanding but insistently relevant debates around the significance of notions of 'performativity' to the critical analysis of early modern drama. In particular, the book aims to: show how the investigation of performativity can enable readings of Shakespeare and Jonson that challenge the dominant methodological frameworks within which those plays have come to be read; demonstrate that the thought of performativity does not come to rest in the simplicity of method or instrumentality, and that it resists its own claim that language and action might be understood as unproblematically instrumental; demonstrate that this self-resistance occurs or takes place as a moment in the process of articulating the claims of the performative, and that this process is itself in an important sense dramatic.

Do our writings and our utterances reflect or describe our world, or do they intervene in it? Do they, perhaps, help to make it? If so, how? Within what limits, and with what implications? Contemporary theorists have considered the ways in which the languages we speak might be 'performative' in just this way, and their thinking on the topic has had an important impact on a broad range of academic disciplines. In this accessible introduction to a sometimes complex field, James Loxley: offers a concise and original account of critical debates around the idea of performativity traces the history of the concept through the work of such influential theorists as J. L. Austin, John Searle, Stanley Fish, Jacques Derrida, Paul de Man and Judith Butler examines the implications of performativity for fields such as literary and cultural theory, philosophy, performance studies, and the theory of gender and sexuality. emphasises the political and ethical implications that its most important theorists have drawn from the notion of performativity suggests ways in which major debates around the topic have obscured its alternative interpretations and uses. For students trying to make sense of performativity and related concepts such as the speech act, 'ordinary language', and iterability, and for those seeking to understand the place of these ideas in contemporary performance theory, this clear guide will prove indispensable. Performativity offers not only a path through challenging critical terrain, but a new understanding of just what is at stake in the exploration of this field.

Stanley Cavell: Philosophy, literature, and criticism is the first book to offer a comprehensive examination of the relationship between the celebrated philosophical work of Stanley Cavell and the discipline of literary criticism. In this volume, the editors have assembled an impressive range of interlocutors who set out to explore the shape and substance of Stanley Cavell's persistent acknowledgement of the literary as a category in which, and through which, philosophical work can be undertaken. A number of essays address his engagements with modernism, tragedy, and romanticism, while others consider Cavell's own aesthetic modes as a writer. Stanley Cavell: Philosophy, literature, and criticism will be of interest to all those who are concerned with the ways in which the reading of literature, and the practice of philosophy, might continue both to influence each other across disciplinary boundaries, and to challenge the internal topographies of those disciplines. -- .

This book will constitute an original intervention into longstanding but insistently relevant debates around the significance of notions of performativity to the critical analysis of early modern drama.

In particular, the book aims to:

• show how the investigation of performativity can enable readings of Shakespeare and Jonson that challenge the dominant methodological frameworks within which those plays have come to be read;

• demonstrate that the thought of performativity does not come to rest in the simplicity of method or instrumentality, and that it resists its own claim that language and action might be understood as unproblematically instrumental;

• demonstrate that this self-resistance occurs or takes place as a moment in the process of articulating the claims of the performative, and that this process is itself in an important sense dramatic.

Do our writings and our utterances reflect or describe our world, or do they intervene in it? Do they, perhaps, help to make it? If so, how? Within what limits, and with what implications? Contemporary theorists have considered the ways in which the languages we speak might be 'performative' in just this way, and their thinking on the topic has had an important impact on a broad range of academic disciplines. In this accessible introduction to a sometimes complex field, James Loxley: offers a concise and original account of critical debates around the idea of performativity traces the history of the concept through the work of such influential theorists as J. L. Austin, John Searle, Stanley Fish, Jacques Derrida, Paul de Man and Judith Butler examines the implications of performativity for fields such as literary and cultural theory, philosophy, performance studies, and the theory of gender and sexuality. emphasises the political and ethical implications that its most important theorists have drawn from the notion of performativity suggests ways in which major debates around the topic have obscured its alternative interpretations and uses. For students trying to make sense of performativity and related concepts such as the speech act, 'ordinary language', and iterability, and for those seeking to understand the place of these ideas in contemporary performance theory, this clear guide will prove indispensable. Performativity offers not only a path through challenging critical terrain, but a new understanding of just what is at stake in the exploration of this field.

Next to Shakespeare, Ben Jonson is perhaps the most widely studied Renaissance dramatist. Very few students of literature or drama would not encounter Volpone or Bartholomew Fair in the course of their studies, and there has been a recent resurgence of interest in Epicoene, or the Silent Women amongst gender theorists. As part of The Complete Critical Guide series, this volume offers the broadest range of information on Jonson and his works, from background on contexts to details of recent interpretations of his plays. A must for students of the Renaissance.

Related link: http://www.literature.routledge.com/criti calguides/

Next to Shakespeare, Ben Jonson is perhaps the most widely studied Renaissance dramatist. Very few students of literature or drama would not encounter Volpone or Bartholomew Fair in the course of their studies, and there has been a recent resurgence of interest in Epicoene, or the Silent Women amongst gender theorists. As part of The Complete Critical Guide series, this volume offers the broadest range of information on Jonson and his works, from background on contexts to details of recent interpretations of his plays. A must for students of the Renaissance.

Related link: http://www.literature.routledge.com/criti calguides/

This is a new edition of this established guide for students studying literature for the first time. This up-to-the minute foundational guide introduces the full range of literary forms, styles, theories and critical strategies which new students need to cover. By careful use of examples it demonstrates exactly how strategies for reading texts can be put to work and all texts discussed are conveniently available in the Norton Anthology of English Literature. The successful first edition is now updated with the latest in research and teaching by the academics based at one of the UK's leading university literature departments. It features a new Students Resources section with 3 new chapters on Reading, Writing, and Reflecting and including 'how to' features such as how to avoid plagiarism, and how to prepare a bibliography. It discusses both British and American authors, while the texts discussed in the book generally appear in the Norton Anthology of English Literature. It introduces a wide range of literary forms, styles and critical strategies, essential knowledge for the beginning student of literature.

At the heart of this book is a previously unpublished account of Ben Jonson's celebrated walk from London to Edinburgh in the summer of 1618. This unique firsthand narrative provides us with an insight into where Jonson went, whom he met, and what he did on the way. James Loxley, Anna Groundwater and Julie Sanders present a clear, readable and fully annotated edition of the text. An introduction and a series of contextual essays shed further light on topics including the evidence of provenance and authorship, Jonson's contacts throughout Britain, his celebrity status, and the relationships between his 'foot voyage' and other famous journeys of the time. The essays also illuminate wider issues, such as early modern travel and political and cultural relations between England and Scotland. It is an invaluable volume for scholars and upper-level students of Ben Jonson studies, early modern literature, seventeenth-century social history, and cultural geography.