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Migrating Shakespeare offers the first study of the earliest waves
of Shakespeare’s migration into Europe. Charting the spread of
the reception and production of his plays across the continent, it
examines how Shakespeare contributed to national cultures and –
in some cases – nation building. The chapters explore the routes
and cultural networks through which Shakespeare entered European
consciousness, from first translations to stage adaptations and
critical response. The role of strolling players and actors,
translators and printers, poets and dramatists, is chronicled
alongside the larger political and cultural movements shaping
nations. Each individual case discloses the national, literary and
theatrical issues Shakespeare encountered, revealing not only how
cultures have accommodated and adapted Shakespeare on their own
terms but their interpretative contribution to the texts. Taken
collectively the volume addresses key questions about
Shakespeare’s naturalization or reluctant accommodation within
other cultures, inaugurating his present global reach.
Republic to restoration cuts across artificial divides between
periods and disciplines,often imposed for reasons of convenience
rather than reality. Challenging the traditional period divide of
1660, essays in this volume explore continuities with the decades
of civil war and the Republic, shedding new light on religious,
political and cultural conditions before and after the restoration
of church and king. Transdisciplinary in conception, it includes
essays on political theory, poetry, pamphlets, drama, opera, art,
scientific experiment and the Book of Common Prayer. Essays in the
volume variously show how unresolved issues at national and local
level, including residual republicanism and religious dissent, were
evident in many areas of Restoration life, and were recorded in
memoirs, diaries, plays, historical writing, pamphlets and poems.
An active promotion of forgetting, and the erasing of memories of
the Republic and the reconstruction of the old order did not mend
the political, religious and cultural divisions that had opened up
during the Civil War. In examining such diverse genres as women's
religious and prophetic writings, the publications of the Royal
Society, the poetry and prose of Marvell and Milton, plays and
opera, court portraiture, contemporary histories of the civil wars,
and political cartoons, the volume substantiates its central claim
that the Restoration was conditioned by continuity and adaptation
of linguistic and artistic discourses. Republic to restoration will
be of significant interest to academic researchers in a wide range
of related fields, and especially students and scholars of
seventeenth-century literature and history. -- .
Shakespeare's unique status has made critics reluctant to
acknowledge the extent to which some of his plays are the outcome
of adaptation. In Shakespeare's Stage Traffic Janet Clare
re-situates Shakespeare's dramaturgy within the flourishing and
competitive theatrical trade of the late sixteenth and early
seventeenth centuries. She demonstrates how Shakespeare worked with
materials which had already entered the dramatic tradition, and
how, in the spirit of Renaissance theory, he moulded and converted
them to his own use. The book challenges the critical stance that
views the Shakespeare canon as essentially self-contained, moves
beyond the limitations of generic studies and argues for a more
conjoined critical study of early modern plays. Each chapter
focuses on specific plays and examines the networks of influence,
exchange and competition which characterised stage traffic between
playwrights, including Marlowe, Jonson and Fletcher. Overall, the
book addresses multiple perspectives relating to authorship and
text, performance and reception.
Shakespeare's unique status has made critics reluctant to
acknowledge the extent to which some of his plays are the outcome
of adaptation. In Shakespeare's Stage Traffic Janet Clare
re-situates Shakespeare's dramaturgy within the flourishing and
competitive theatrical trade of the late sixteenth and early
seventeenth centuries. She demonstrates how Shakespeare worked with
materials which had already entered the dramatic tradition, and
how, in the spirit of Renaissance theory, he moulded and converted
them to his own use. The book challenges the critical stance that
views the Shakespeare canon as essentially self-contained, moves
beyond the limitations of generic studies and argues for a more
conjoined critical study of early modern plays. Each chapter
focuses on specific plays and examines the networks of influence,
exchange and competition which characterised stage traffic between
playwrights, including Marlowe, Jonson and Fletcher. Overall, the
book addresses multiple perspectives relating to authorship and
text, performance and reception.
There is a long history in Ireland of performing, studying and
responding to Shakespeare's plays. Transposed to an Irish context,
Shakespeare has continued to be a source of creative engagement and
discussion for Irish writers. This new collection of essays
explores the dynamic responses to Shakespeare by Irish writers, in
both English and in Irish, since the early twentieth century.
Written by leading Irish and international scholars in the fields
of Shakespeare and Irish studies "Shakespeare and the Irish Writer"
addresses the engagement with Shakespeare and his plays in the
works of Yeats, Wilde, Joyce, Bowen, Shaw, Beckett and McGuinness
as well as Irish language writers. It surveys Shakespeare's
reception in Ireland and suggests new ways of interpreting his work
and his cultural associations in and from Ireland. Indeed, the
collection reveals how the category 'Shakespeare and the Irish
Writer' discloses a level of cultural continuity across the
contours of the history of Ireland and Britain. What emerges is an
interaction with Shakespeare's plays that, whether emulative or
parodic, iconoclastic or subtly allusive, or a combination of
these, is complex and creative.These essays provide new insight
into Shakespeare's reception in Ireland, illustrating how his plays
have initiated a dialogue in Irish writing, and continue to do so.
They show how Irish responses to his work constitute a legitimate
form of criticism, enlarging understanding of Shakespeare in a
broader than national context. "Shakespeare and the Irish Writer"
will appeal to scholars of modern Irish writing and to Shakespeare
scholars, particularly those interested in the appropriation of the
many plays and their cultural afterlife.
Francis Bacon described revenge as a 'kind of wild justice'. Then
as now, early modern playwrights and their theatre-going public
were fascinated by the anarchic energies that a desire for
retribution unleashes. Rather than rehearsing familiar conventions,
each of these plays presents a unique social and cultural milieu
where dark fantasies of revenge are variously played out.In Kyd's
"The Spanish Tragedy"""a grieving father seeks public justice for
the murder of his son by envious princelings. When his attempts are
thwarted he turns a court spectacle of murder into the 'real'
thing. Blackly comic in its tone and style, "The Revenger's
Tragedy"""(anon.) presents vengeance as mimetic art, witty and
cruel. Ford's '"Tis Pity She's a Whore"""represents an innovative
re-working of the genre as a brother's love for his sister leads to
his spectacular revenge on his rival, her husband, in a society in
which brutal retaliation for perceived wrong is the norm. In
Webster's "The White Devil" crimes of passion ignite revenge in the
courts of the Italian city states.This student edition contains
fully annotated, modernized texts of each play together with an
introduction discussing the dramatic and poetic style of each play,
focusing on its action and play of ideas.
Home is where the quilt is! Quilt your own home or your dream home
with this collection of inspiring designs for quilts, wall hangings
and cushions. Choose from townhouses to quaint cottages, seaside
beach huts, converted barns and even shepherd's huts. There's a
quirky quilted home for everyone, whatever your taste! Janet's
distinctive style includes lots of freehand machine embroidery,
hand stitchery and applique. As well as the 15 main quilt projects
there is also a collection of extra ideas to sew smaller projects
including a keyring; decorated napkins and even a quilted felt
brooch. Janet uses a combination of sewing, quilting and applique
techniques to create her quilt patterns including freehand machine
embroidery and hand quilting, which are currently both very popular
sewing techniques. All the quilting and pattern templates are
included at full size for instant sewing. And templates can be
mixed and matched to create your unique designs.
In this study of revenge tragedies – notably by Thomas Kyd,
William Shakespeare, Thomas Middleton, John Marston and John
Webster – Janet Clare suggests that genres are not passively
inherited, but made and re-made every time a new play is performed.
The implication that there is an identifiable genre of revenge
tragedy rehearsing common conventions is challenged as Clare
examines Renaissance plays of revenge on their own terms. While
disclosing evident inter-textual links and a similar appeal to
classical material, revenge plays of the late Elizabethan and
Jacobean period strive for a range of effects including satire,
parody and farce. Some plays embody a providential outlook while
others seem defiantly secular. Francis Bacon’s famous maxim ‘a
kind of wild justice’ captures the moral ambivalence of revenge:
a rough justice on the point of anarchy. Janet Clare demonstrates
the problematic nature of revenge as it defines dramatic action As
the exploration of plays in this study reveals, revenge is not only
bound up with justice, honour and duty, but impelled by perverted
impulses, envy and resentment.
This collection of essays by Douglas Jefferson from various periods
of his distinguished career and by fellow academics writing in
response to his work represents a novel dialogic form of literary
criticism. In his essays ranging from Shakespeare's "Hamlet" to the
"Canon", Jefferson is always stimulating and engaging, while
offering nuanced and informed readings of his chosen texts.
Replying to Jefferson's work, contemporary critics have variously
extended his ideas, disclosing new ways of reading texts in the
light of current debate and more theoretical developments, or have
adopted a more discursive strategy in using ideas derived from
Jefferson's essays to provoke further explorations. Douglas
Jefferson (1912-2001) spent virtually his entire academic life at
the University of Leeds, starting as an undergraduate in the School
of English in 1930, and interrupted only by his studies at the
University of Oxford (Merton College), where he gained a B.Litt in
1937, and his educational services in Egypt during the Second World
War. His was a career remarkable for distinguished service to his
profession, comprising not only an extensive range of publications
on writers from John Dryden to Iris Murdoch but in the care with
which he nurtured and encouraged generations of students and
colleagues both at home and abroad in the study of English
literature.
Migrating Shakespeare offers the first study of the earliest waves
of Shakespeare’s migration into Europe. Charting the spread of
the reception and production of his plays across the continent, it
examines how Shakespeare contributed to national cultures and –
in some cases – nation building. The chapters explore the routes
and cultural networks through which Shakespeare entered European
consciousness, from first translations to stage adaptations and
critical response. The role of strolling players and actors,
translators and printers, poets and dramatists, is chronicled
alongside the larger political and cultural movements shaping
nations. Each individual case discloses the national, literary and
theatrical issues Shakespeare encountered, revealing not only how
cultures have accommodated and adapted Shakespeare on their own
terms but their interpretative contribution to the texts. Taken
collectively the volume addresses key questions about
Shakespeare’s naturalization or reluctant accommodation within
other cultures, inaugurating his present global reach.
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