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Recent work in Shakespeare studies has brought to the forefront a
variety of ways in which the collaborative nature of Shakespearean
drama can be investigated: collaborative performance (Shakespeare
and his fellow actors); collaborative writing (Shakespeare and his
co-authors); collaborative textual production (Shakespeare and his
transcribers and printers). What this leaves unaccounted for is the
form of collaboration that affects more than any other our modern
reading experience of Shakespeare's plays: what we read as
Shakespeare now always comes to us in the form of a collaborative
enterprise - and is decisively shaped by the nature of the
collaboration - between Shakespeare and his modern editors.Contrary
to much recent criticism, this book suggests that modern textual
mediators have a positive rather than negative role: they are not
simply 'pimps of discourse' or cultural tyrants whose oppressive
interventions we need to 'unedit' but collaborators who can
decisively shape and enable our response to Shakespeare's
plays.Erne argues that any reader of Shakespeare, scholar, student,
or general reader, approaches Shakespeare through modern editions
that have an endlessly complicated and fascinating relationship to
what Shakespeare may actually have intended and written, that
modern editors determine what that relationship is, and that it is
generally a very good thing that they do so. "Shakespeare Now!" is
a series of short books that engage imaginatively and often
provocatively with the possibilities of Shakespeare's plays. It
goes back to the source - the most living language imaginable - and
recaptures the excitement, audacity and surprise of Shakespeare. It
will return you to the plays with opened eyes.
The Arden Research Handbook of Shakespeare and Textual Studies is a
wide-ranging, authoritative guide to research on Shakespeare and
textual studies by an international team of leading scholars. It
contains chapters on all the major areas of current research,
notably the Shakespeare manuscripts; the printed text and paratext
in Shakespeare's early playbooks and poetry books; Shakespeare's
place in the early modern book trade; Shakespeare's early readers,
users, and collectors; the constitution and evolution of the
Shakespeare canon from the sixteenth to the twenty-first century;
Shakespeare's editors from the eighteenth to the twenty-first
century; and the modern editorial reproduction of Shakespeare. The
Handbook also devotes separate chapters to new directions and
developments in research in the field, specifically in the areas of
digital editing and of authorship attribution methodologies. In
addition, the Companion contains various sections that provide
non-specialists with practical help: an A-Z of key terms and
concepts, a guide to research methods and problems, a chronology of
major publications and events, an introduction to resources for
study of the field, and a substantial annotated bibliography. The
Arden Research Handbook of Shakespeare and Textual Studies is a
reference work aimed at advanced undergraduate and graduate
students as well as scholars and libraries, a guide to beginning or
developing research in the field, an essential companion for all
those interested in Shakespeare and textual studies.
"Lukas Erne's study of Kyd is remarkable: it engages
straightforwardly with this immensely important playwright and
presents a great deal that is substantially original and of real
significance. Serious students of English Renaissance drama will
certainly find this book indispensable, and as an added bonus, it
is a pleasure to read. " Professor Brian Gibbons, General Editor of
the New Mermaids Kyd is arguably Shakespeare's most important
tragic predecessor. Brilliantly fusing the drama of the academic
and popular traditions, Thomas Kyd's plays are of central
importance for understanding how the drama of Shakespeare and his
contemporaries came about. Called 'an extraordinary dramatic
...genius' by T.S. Eliot, Thomas Kyd invented the revenge tragedy
genre that culminated in Shakespeare's Hamlet some twelve years
later. In this study, The Spanish Tragedy - the most popular of all
plays on the English Renaissance stage - receives the extensive
scholarly and critical treatment it deserves, including a full
reception and modern stage history. Yet as Erne shows, Thomas Kyd
is much more than the author of a single masterpiece. Don Horatio
(partly extant in The First Part of Hieronimo), the lost early
Hamlet, Soliman and Perseda, and Cornelia all belong to what
emerges in this work as a coherent dramatic oeuvre. This
groundbreaking study is now in paperback. Contents: Introduction 1.
Don Horatio and The First Part of Hieronimo 2. The Spanish Tragedy:
an introduction 3. The Spanish Tragedy: origins 4. The Spanish
Tragedy: framing revenge 5. The Spanish Tragedy: additions,
adaptations, modern stage history 6. Hamlet 7. Soliman and Perseda:
an introduction 8. Soliman and Perseda: the play and its making 9.
Cornelia 10. Other works and apocrypha Appendix: Kyd's patron
Select Bibliography Index Lukas Erne is Professor of English in the
Departement d'Anglais, Universite de Geneve.
Soliman and Perseda, written c. 1588 and first published in 1592 or
1593, is a late Elizabethan romantic tragedy by Thomas Kyd, author
of The Spanish Tragedy. It dramatises the triangular relationship
of the Turkish emperor Soliman, his captive Perseda and her beloved
Erastus, and the fortunes of the comic servant Piston and the
braggart knight Basilisco, against the fictionalised backdrop of
the Turkish invasion of Rhodes in the early sixteenth century. The
introduction to this facsimile edition contains the fullest
analysis of the text to date. It also provides an account of the
play's editorial history, a detailed analysis of its original
printing, and lists of all erroneous readings in the first quarto,
together with significant differences between the first and second
quartos. This edition provides the best access we have to an
important play by one of Shakespeare's leading early
contemporaries. -- .
This open access book provides translations of early German
versions of Titus Andronicus and The Taming of the Shrew. The
introductory material situates these plays in their German context
and discusses the insights they offer into the original English
texts. English itinerant players toured in northern Continental
Europe from the 1580s. Their repertories initially consisted of
plays from the London theatre, but over time the players learnt
German, and German players joined the companies, meaning the
dramatic texts were adapted and translated into German. There are
four plays that can legitimately be considered as versions of
Shakespeare's plays. The present volume (volume 2) offers
fully-edited translations of two of them: Tito Andronico (Titus
Andronicus) and Kunst uber alle Kunste, ein boes Weib gut zu machen
/ An Art beyond All Arts, to Make a Bad Wife Good (The Taming of
the Shrew). For the other two plays, Der Bestrafte Brudermord /
Fratricide Punished (Hamlet) and Romio und Julieta (Romeo and
Juliet), see volume 1. These plays are of great interest not only
to all Shakespeareans, but also to scholars who are concerned with
the broader issues of translation, performance and textual
transmission over time. The eBook editions of this book are
available open access under a CC BY-NC-ND 4.0 licence on
bloomsburycollections.com. Open access was funded by Swiss National
Science Foundation.
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Renaissance Papers 2001 (Hardcover)
M. Thomas Hester; Contributions by Christopher Cobb, Duke Pesta, Jay Stubblefield, John N. Wall, …
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R1,893
Discovery Miles 18 930
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Ships in 12 - 17 working days
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Renaissance Papers is a collection of the best scholarly essays
submitted each year to the Southeastern Renaissance Conference. The
nine articles in this volume reflect a wide range of approaches to
Renaissance literary performance and theory. The first four essays
seek reasons for the success of various Renaissance plays:
Christopher Cobb examines how Thomas Heywood casts heroic action in
a positive light in his romantic dramas, whereas Lucas Erne urges
that Thomas Kyd's Spanish Tragedy owes its success to its Christian
portrait of Heironimo's unsuccessful attempt to recognize a
benevolent deity. Robert Reeder looks at Renaissance educational
manuals in order to clarify views on precocity in Richard III,
Bartholomew Fair, and Twelfth Night; and Thomas L. Martin and Duke
Pesta investigate and refute postmodern claims about a
"transvestite stage." Scott Lucas shows how several sonnets of
Fulke Greville's Caelica disorient the reader, underscoring the
poet's doubts about human reason and perception; and Pamela Macfie
illustrates how Marlowe's ghostly allusions to Ovid's Heroides in
Hero and Leander darken the portrayal of the tragic lovers'
frustration. The final three essays concern the 17th-century
literary giants Donne and Milton: Jay Stubblefield shows Donne's
1619 sermon to the Virginia Company to be a uniquely Thomistic
commentary on the conflicting motives behind England's exploits in
the New World; and John Wall and John T. Shawcross explore the
effects of John Milton's poems on Renaissance and modern readers.
M. Thomas Hester is professor of English at North Carolina State
University.
This book is a translation of German versions of both Hamlet and
Romeo and Juliet. The introductions to each play place these
versions of Shakespeare's plays in the German context, and offer
insights into what we can learn about the original texts from these
translations. English itinerant players toured in northern
continental Europe from the 1580s. Their repertories initially
consisted of plays from the London theatre, but over time the
players learnt German, and German players joined the companies, as
a result of which the dramatic texts were adapted and translated
into German. A number of German plays now extant have a direct
connection to Shakespeare. Four of them are so close in plot,
character constellation and at times even language to their English
originals that they can legitimately be considered versions of
Shakespeare's plays. This volume offers fully edited translations
of two such texts: Der Bestrafte Brudermord / Fratricide Punished
(Hamlet) and Romio und Julieta (Romeo and Juliet). With full
scholarly apparatus, these texts are of seminal interest to all
scholars of Shakespeare's texts, and their transmission over time
in print, translation and performance.
The Arden Research Handbook of Shakespeare and Textual Studies is a
wide-ranging, authoritative guide to research on Shakespeare and
textual studies by an international team of leading scholars. It
contains chapters on all the major areas of current research,
notably the Shakespeare manuscripts; the printed text and paratext
in Shakespeare's early playbooks and poetry books; Shakespeare's
place in the early modern book trade; Shakespeare's early readers,
users, and collectors; the constitution and evolution of the
Shakespeare canon from the sixteenth to the twenty-first century;
Shakespeare's editors from the eighteenth to the twenty-first
century; and the modern editorial reproduction of Shakespeare. The
Handbook also devotes separate chapters to new directions and
developments in research in the field, specifically in the areas of
digital editing and of authorship attribution methodologies. In
addition, the Companion contains various sections that provide
non-specialists with practical help: an A-Z of key terms and
concepts, a guide to research methods and problems, a chronology of
major publications and events, an introduction to resources for
study of the field, and a substantial annotated bibliography. The
Arden Research Handbook of Shakespeare and Textual Studies is a
reference work aimed at advanced undergraduate and graduate
students as well as scholars and libraries, a guide to beginning or
developing research in the field, an essential companion for all
those interested in Shakespeare and textual studies.
Recent work in Shakespeare studies has brought to the forefront a
variety of ways in which the collaborative nature of Shakespearean
drama can be investigated: collaborative performance (Shakespeare
and his fellow actors); collaborative writing (Shakespeare and his
co-authors); collaborative textual production (Shakespeare and his
transcribers and printers). What this leaves unaccounted for, is
the form of collaboration that affects more than any other our
modern reading experience of Shakespeare's plays: what we read as
Shakespeare now always comes to us in the form of a collaborative
enterprise - and is decisively shaped by the nature of the
collaboration - between Shakespeare and his modern editors.Contrary
to much recent criticism, this book suggests that modern textual
mediators have a positive rather than negative role: they are not
simply 'pimps of discourse' or cultural tyrants whose oppressive
interventions we need to 'unedit' but collaborators who can
decisively shape and enable our response to Shakespeare's
plays.Erne argues that any reader of Shakespeare, scholar, student,
or general reader, approaches Shakespeare through modern editions
that have an endlessly complicated and fascinating relationship to
what Shakespeare may actually have intended and written, that
modern editors determine what that relationship is, and that it is
generally a very good thing that they do so. "Shakespeare Now!" is
a series of short books that engage imaginatively and often
provocatively with the possibilities of Shakespeare's plays. It
goes back to the source - the most living language imaginable - and
recaptures the excitement, audacity and surprise of Shakespeare. It
will return you to the plays with opened eyes.
This book is a translation of German versions of both Hamlet and
Romeo and Juliet. The introductions to each play place these
versions of Shakespeare's plays in the German context, and offer
insights into what we can learn about the original texts from these
translations. English itinerant players toured in northern
continental Europe from the 1580s. Their repertories initially
consisted of plays from the London theatre, but over time the
players learnt German, and German players joined the companies, as
a result of which the dramatic texts were adapted and translated
into German. A number of German plays now extant have a direct
connection to Shakespeare. Four of them are so close in plot,
character constellation and at times even language to their English
originals that they can legitimately be considered versions of
Shakespeare's plays. This volume offers fully edited translations
of two such texts: Der Bestrafte Brudermord / Fratricide Punished
(Hamlet) and Romio und Julieta (Romeo and Juliet). With full
scholarly apparatus, these texts are of seminal interest to all
scholars of Shakespeare's texts, and their transmission over time
in print, translation and performance.
This open access book provides translations of early German
versions of Titus Andronicus and The Taming of the Shrew. The
introductory material situates these plays in their German context
and discusses the insights they offer into the original English
texts. English itinerant players toured in northern Continental
Europe from the 1580s. Their repertories initially consisted of
plays from the London theatre, but over time the players learnt
German, and German players joined the companies, meaning the
dramatic texts were adapted and translated into German. There are
four plays that can legitimately be considered as versions of
Shakespeare’s plays. The present volume (volume 2) offers
fully-edited translations of two of them: Tito Andronico (Titus
Andronicus) and Kunst über alle Künste, ein bös Weib gut zu
machen / An Art beyond All Arts, to Make a Bad Wife Good (The
Taming of the Shrew). For the other two plays, Der Bestrafte
Brudermord / Fratricide Punished (Hamlet) and Romio und Julieta
(Romeo and Juliet), see volume 1. These plays are of great interest
not only to all Shakespeareans, but also to scholars who are
concerned with the broader issues of translation, performance and
textual transmission over time. The eBook editions of this book are
available open access under a CC BY-NC-ND 4.0 licence on
bloomsburycollections.com. Open access was funded by Swiss National
Science Foundation.
Shakespeare and the Book Trade follows on from Lukas Erne's
groundbreaking Shakespeare as Literary Dramatist to examine the
publication, constitution, dissemination and reception of
Shakespeare's printed plays and poems in his own time and to argue
that their popularity in the book trade has been greatly
underestimated. Erne uses evidence from Shakespeare's publishers
and the printed works to show that in the final years of the
sixteenth century and the early part of the seventeenth century,
'Shakespeare' became a name from which money could be made, a book
trade commodity in which publishers had significant investments and
an author who was bought, read, excerpted and collected on a
surprising scale. Erne argues that Shakespeare, far from
indifferent to his popularity in print, was an interested and
complicit witness to his rise as a print-published author. Thanks
to the book trade, Shakespeare's authorial ambition started to
become bibliographic reality during his lifetime.
Now in a new edition, Lukas Erne's groundbreaking study argues that
Shakespeare, apart from being a playwright who wrote theatrical
texts for the stage, was also a literary dramatist who produced
reading texts for the page. Examining the evidence from early
published playbooks, Erne argues that Shakespeare wrote many of his
plays with a readership in mind and that these 'literary' texts
would have been abridged for the stage because they were too long
for performance. The variant early texts of Romeo and Juliet, Henry
V and Hamlet are shown to reveal important insights into the
different media for which Shakespeare designed his plays. This
revised and updated edition includes a new and substantial preface
that reviews and intervenes in the controversy the study has
triggered and lists reviews, articles and books which respond to or
build on the first edition.
Now in a new edition, Lukas Erne's groundbreaking study argues that
Shakespeare, apart from being a playwright who wrote theatrical
texts for the stage, was also a literary dramatist who produced
reading texts for the page. Examining the evidence from early
published playbooks, Erne argues that Shakespeare wrote many of his
plays with a readership in mind and that these 'literary' texts
would have been abridged for the stage because they were too long
for performance. The variant early texts of Romeo and Juliet, Henry
V and Hamlet are shown to reveal important insights into the
different media for which Shakespeare designed his plays. This
revised and updated edition includes a new and substantial preface
that reviews and intervenes in the controversy the study has
triggered and lists reviews, articles and books which respond to or
build on the first edition.
Shakespeare and the Book Trade follows on from Lukas Erne's
groundbreaking Shakespeare as Literary Dramatist to examine the
publication, constitution, dissemination and reception of
Shakespeare's printed plays and poems in his own time and to argue
that their popularity in the book trade has been greatly
underestimated. Erne uses evidence from Shakespeare's publishers
and the printed works to show that in the final years of the
sixteenth century and the early part of the seventeenth century,
'Shakespeare' became a name from which money could be made, a
book-trade commodity in which publishers had significant
investments and an author who was bought, read, excerpted and
collected on a surprising scale. Erne argues that Shakespeare, far
from indifferent to his popularity in print, was an interested and
complicit witness to his rise as a print-published author. Thanks
to the book trade, Shakespeare's authorial ambition started to
become bibliographic reality during his lifetime.
This important collection brings together leading scholars to
examine crucial questions regarding the theory and practice of
editing Shakespeare's plays. In particular, the essays look at how
best to engage editorially with evidence provided by historical
research into the playhouse, author's study and printing house. How
are editors of playscripts to mediate history, in its many forms,
for modern users? Considering our knowledge of the past is partial
(in the senses both of incomplete and ideological) where are we to
draw the line between legitimate editorial assistance and
unwarranted interference? In what innovative ways might current
controversies surrounding the mediation of Shakespeare's drama
shape future editorial practice? Focusing on key points of debate
and controversy, this collection makes a vital contribution to a
better understanding of how editorial practice (on the page and in
cyberspace) might develop in the twenty-first century.
Two different versions of Romeo and Juliet were published during
Shakespeare's lifetime: the second quarto of 1599, on which modern
editions are usually based, and the first quarto of 1597. The
latter version was long denigrated as a 'bad' quarto', but recent
scholarship sees in it a crucial witness for the theatrical
practices of Shakespeare and his company. The shorter of the two
versions by about one quarter, the first quarto has high-paced
action, fuller stage directions than the second quarto, and
fascinating alternatives to the famous speeches in the longer
version. The introduction to this edition provides a full
discussion of the origins of the first quarto, before analysing its
distinguishing features and presenting a concise history of the
1597 version. The text is provided with a full collation and
commentary which alert the reader to crucial differences between
the first and the second quartos.
This important collection brings together leading scholars to
examine crucial questions regarding the theory and practice of
editing Shakespeare's plays. In particular the essays look at how
best to engage editorially with evidence provided by historical
research into the playhouse, author's study, and printing house.
How are editors of playscripts to mediate history, in its many
forms, for modern users? Considering our knowledge of the past is
partial (in the senses both of incomplete and ideological), where
are we to draw the line between legitimate editorial assistance and
unwarranted interference? In what innovative ways might current
controversies surrounding the mediation of Shakespeare's drama
shape future editorial practice? Focusing on the key points of
debate and controversy of the present moment, this collection makes
a vital contribution to a better understanding of how editorial
practice (on the page and in cyberspace) might develop in the
twenty-first century.
Two different versions of Romeo and Juliet were published during
Shakespeare's lifetime: the second quarto of 1599, on which modern
editions are usually based, and the first quarto of 1597. The
latter version was long denigrated as a 'bad' quarto', but recent
scholarship sees in it a crucial witness for the theatrical
practices of Shakespeare and his company. The shorter of the two
versions by about one quarter, the first quarto has high-paced
action, fuller stage directions than the second quarto, and
fascinating alternatives to the famous speeches in the longer
version. The introduction to this edition provides a full
discussion of the origins of the first quarto, before analysing its
distinguishing features and presenting a concise history of the
1597 version. The text is provided with a full collation and
commentary which alert the reader to crucial differences between
the first and the second quartos.
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