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This collection of multi-authored essays not only refashions and
revises critical understandings of the early modern dramatist Ben
Jonson and his canon of work, but is also self-reflexive about the
process. It includes original essays by both established and
emergent Jonson scholars, and employs materialist, feminist and
queer theory in the production of its readings of Jonsonian
playtexts and masques, familiar and otherwise. It is intended to
encourage new approaches by students to this central figure from
the Renaissance.
This is a ground-breaking edition of three seventeenth-century
plays that all engage in diverse and exciting ways with questions
of gender and performance. The collection, edited by three
pioneering scholars of elite female culture and early modern drama,
makes the texts of three much-discussed plays - John Fletcher's The
Wild-Goose Chase, James Shirley's The Bird in a Cage and Margaret
Cavendish's The Convent of Pleasure - available together in a full
scholarly edition for the first time. The Wild Goose Chase (1621)
and The Bird in a Cage (1633) were both performed in the commercial
London theatres in the Jacobean and Caroline periods respectively.
The Convent of Pleasure (1668) is a so-called 'closet' drama,
designed primarily for reading but drawing on a tradition of
aristocratic theatricals. In a wide-ranging co-authored
introduction to the volume, the editors explore the concerns of
these playtexts in relation to contemporary debates surrounding
popular festivity and anti-theatricalism, as well as the agency of
elite female culture in the Stuart period and the emergence of the
professional female actor in the Restoration. The volume will be an
invaluable teaching and research tool for students and scholars of
early modern drama, women's writing and performance studies more
generally, as well as providing a rich sourcebook for the reader
interested in seventeenth-century theatrical culture. -- .
The essays in this volume challenge current 'givens' in medieval
and early modern research around periodization and editorial
practice. They showcase cutting-edge research practices and
approaches in textual editing, and in manuscript and performance
studies to produce new ways of reading and working for students and
scholars.
Bringing together a group of established and emergent Jonson
scholars, this volume reacts to major new advances in thinking
about the writer and his canon of works. The study is divided into
two distinct parts: the first considers the Jonsonian career and
output from biographical, critical, and performance-based angles;
the second looks at cultural and historical contexts building on
rich interdisciplinary work. Social historians work alongside
literary critics to provide a diverse and varied account of Jonson.
These are less standard surveys of the field than vibrant
interventions into current critical debates. The short-essay format
of the collection seeks less to harmonize and homogenize than to
raise awareness of new avenues of research on Jonson, including
studies informed by book history, cultural geography, the law and
legal discourse, the history of science, and interests in material
culture.
Engaging and stimulating, this Introduction provides a fresh vista
of the early modern theatrical landscape. Chapters are arranged
according to key genres (tragedy, revenge, satire, history play,
pastoral and city comedy), punctuated by a series of focused case
studies on topics ranging from repertoire to performance style,
political events to the physical body of the actor, and from plays
in print to the space of the playhouse. Julie Sanders encourages
readers to engage with particular dramatic moments, such as opening
scenes, skulls on stage or the conventions of disguise, and to
apply the materials and methods contained in the book in inventive
ways. A timeline and frequent cross-references provide continuity.
Always alert to the possibilities of performance, Sanders reveals
the remarkable story of early modern drama not through individual
writers, but through repertoires and company practices, helping to
relocate and re-imagine canonical plays and playwrights.
Literary geographies is an exciting new area of interdisciplinary
research. Innovative and engaging, this book applies theories of
landscape, space and place from the discipline of cultural
geography within an early modern historical context. Different
kinds of drama and performance are analyzed: from commercial drama
by key playwrights to household masques and entertainment performed
by families and in semi-official contexts. Sanders provides a fresh
look at works from the careers of Ben Jonson, John Milton and
Richard Brome, paying attention to geographical spaces and habitats
like forests, coastlines and arctic landscapes of ice and snow, as
well as the more familiar locales of early modern country estates
and city streets and spaces. Overall, the book encourages readers
to think about geography as kinetic, embodied and physical, not
least in its literary configurations, presenting a key contribution
to early modern scholarship.
From the apparently simple adaptation of a text into film, theatre
or a new literary work, to the more complex appropriation of style
or meaning, it is arguable that all texts are somehow connected to
a network of existing texts and art forms. In this new edition
Adaptation and Appropriation explores: multiple definitions and
practices of adaptation and appropriation the cultural and
aesthetic politics behind the impulse to adapt the global and local
dimensions of adaptation the impact of new digital technologies on
ideas of making, originality and customization diverse ways in
which contemporary literature, theatre, television and film adapt,
revise and reimagine other works of art the impact on adaptation
and appropriation of theoretical movements, including
structuralism, post-structuralism, postcolonialism, postmodernism,
feminism and gender studies the appropriation across time and
across cultures of specific canonical texts, by Shakespeare,
Dickens, and others, but also of literary archetypes such as myth
or fairy tale. Ranging across genres and harnessing concepts from
fields as diverse as musicology and the natural sciences, this
volume brings clarity to the complex debates around adaptation and
appropriation, offering a much-needed resource for those studying
literature, film, media or culture.
Bringing together a group of established and emergent Jonson
scholars, this volume reacts to major new advances in thinking
about the writer and his canon of works. The study is divided into
two distinct parts: the first considers the Jonsonian career and
output from biographical, critical, and performance-based angles;
the second looks at cultural and historical contexts building on
rich interdisciplinary work. Social historians work alongside
literary critics to provide a diverse and varied account of Jonson.
These are less standard surveys of the field than vibrant
interventions into current critical debates. The short-essay format
of the collection seeks less to harmonize and homogenize than to
raise awareness of new avenues of research on Jonson, including
studies informed by book history, cultural geography, the law and
legal discourse, the history of science, and interests in material
culture.
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.
Literary geographies is an exciting new area of interdisciplinary
research. Innovative and engaging, this book applies theories of
landscape, space and place from the discipline of cultural
geography within an early modern historical context. Different
kinds of drama and performance are analyzed: from commercial drama
by key playwrights to household masques and entertainment performed
by families and in semi-official contexts. Sanders provides a fresh
look at works from the careers of Ben Jonson, John Milton and
Richard Brome, paying attention to geographical spaces and habitats
like forests, coastlines and arctic landscapes of ice and snow, as
well as the more familiar locales of early modern country estates
and city streets and spaces. Overall, the book encourages readers
to think about geography as kinetic, embodied and physical, not
least in its literary configurations, presenting a key contribution
to early modern scholarship.
The essays in this volume challenge current 'givens' in medieval
and early modern research around periodization and editorial
practice. They showcase cutting-edge research practices and
approaches in textual editing, and in manuscript and performance
studies to produce new ways of reading and working for students and
scholars.
This collection of multi-authored essays not only refashions and
revises critical understandings of the early modern dramatist Ben
Jonson and his canon of work, but is also self-reflexive about the
process. It includes original essays by both established and
emergent Jonson scholars, and employs materialist, feminist and
queer theory in the production of its readings of Jonsonian
playtexts and masques, familiar and otherwise. It is intended to
encourage new approaches by students to this central figure from
the Renaissance.
From the apparently simple adaptation of a text into film, theatre
or a new literary work, to the more complex appropriation of style
or meaning, it is arguable that all texts are somehow connected to
a network of existing texts and art forms. In this new edition
Adaptation and Appropriation explores: multiple definitions and
practices of adaptation and appropriation the cultural and
aesthetic politics behind the impulse to adapt the global and local
dimensions of adaptation the impact of new digital technologies on
ideas of making, originality and customization diverse ways in
which contemporary literature, theatre, television and film adapt,
revise and reimagine other works of art the impact on adaptation
and appropriation of theoretical movements, including
structuralism, post-structuralism, postcolonialism, postmodernism,
feminism and gender studies the appropriation across time and
across cultures of specific canonical texts, by Shakespeare,
Dickens, and others, but also of literary archetypes such as myth
or fairy tale. Ranging across genres and harnessing concepts from
fields as diverse as musicology and the natural sciences, this
volume brings clarity to the complex debates around adaptation and
appropriation, offering a much-needed resource for those studying
literature, film, media or culture.
This introduction to the core areas of English Literature is
combined with a helpful study skills guide. It provides students
with the knowledge and essential skills to communicate effectively
and participate fully in their degree course. Written in a lucid
manner by two experienced lecturers in the subject, the book places
special emphasis on what it will feel like to adjust to new
environments and new intellectual expectations. Get Set for English
Literature * Demonstrates the richness of studying English
Literature. * Outlines the forms of learning and teaching from the
lecture to individual supervision. * Describes specific courses in
English Literature, from Shakespeare to contemporary fiction,
including literary criticism and literary theory. * Introduces key
study skills such as reading, getting the most from lectures and
tutorials, time management, essay writing and assessment. *
Includes a guide to further reading.
Engaging and stimulating, this Introduction provides a fresh vista
of the early modern theatrical landscape. Chapters are arranged
according to key genres (tragedy, revenge, satire, history play,
pastoral and city comedy), punctuated by a series of focused case
studies on topics ranging from repertoire to performance style,
political events to the physical body of the actor, and from plays
in print to the space of the playhouse. Julie Sanders encourages
readers to engage with particular dramatic moments, such as opening
scenes, skulls on stage or the conventions of disguise, and to
apply the materials and methods contained in the book in inventive
ways. A timeline and frequent cross-references provide continuity.
Always alert to the possibilities of performance, Sanders reveals
the remarkable story of early modern drama not through individual
writers, but through repertoires and company practices, helping to
relocate and re-imagine canonical plays and playwrights.
This is an exciting collection of essays on the rule of Charles
I at a time of fundamental importance to English history. It
combines the work of historians with academics from literary
studies to provide an interdisciplinary examination of the culture
and political life of the decade. The chapters focus on issues in
politics, religion, the monarchy and culture, as well as literature
and art history. Essays examine everything from the King's
correspondence to the role of consort queens at court and
opposition to the King in libel, satire and on the stage.Many
historians assert that it was Charles's inept and dangerous policy
of 'personal rule' which was responsible for putting the country on
the road to civil war. This book will be invaluable for students
and lecturers seeking to better understand the causes of the
conflict.
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.
Brings together three much-discussed seventeenth-century plays in
an accessible and scholarly edition for the first time, allowing
for comparative and contextual studies A substantial co-authored
introduction addresses questions of elite female culture in the
early modern period and the emergence of the professional female
actor All three editors have an established reputation in the field
of seventeenth-century scholarship, and have produced pioneering
work on elite female culture and the stage The volume is innovative
in terms of its attention to questions of gender and performance as
they are staged and explored in seventeenth-century drama Offers
varied examples of theatrical practice and performance while also
considering lines of interaction and influence between the writers
and plays discussed
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