Shakespeare and Textual Studies gathers contributions from the leading specialists in the fields of manuscript and textual studies, book history, editing, and digital humanities to provide a comprehensive reassessment of how manuscript, print and digital practices have shaped the body of works that we now call 'Shakespeare'. This cutting-edge collection identifies the legacies of previous theories and places special emphasis on the most recent developments in the editing of Shakespeare since the 'turn to materialism' in the late twentieth century. Providing a wide-ranging overview of current approaches and debates, the book explores Shakespeare's poems and plays in light of new evidence, engaging scholars, editors, and book historians in conversations about the recovery of early composition and publication, and the ongoing appropriation and transmission of Shakespeare's works through new technologies.

'Kidnie's study presents original, sophisticated, and profoundly intelligent answers to important questions.' - Lukas Erne, University of Geneva 'This is a fine and productive book, one that will surely draw significant attention and commentary well beyond the precincts of Shakespeare studies.' - W.B. Worthen, Columbia University Shakespeare's plays continue to be circulated on a massive scale in a variety of guises - as editions, performances, and adaptations - and it is by means of such mediation that we come to know his drama. Shakespeare and the Problem of Adaptation addresses fundamental questions about this process of mediation, making use of the fraught category of adaptation to explore how we currently understand the Shakespearean work. To adapt implies there exists something to alter, but what constitutes the category of the 'play', and how does it relate to adaptation? How do 'play' and 'adaptation' relate to drama's twin media, text and performance? What impact might answers to these questions have on current editorial, performance, and adaptation studies? Margaret Jane Kidnie argues that 'play' and 'adaptation' are provisional categories - mutually dependent processes that evolve over time in accordance with the needs of users. This theoretical argument about the identity of works and the nature of text and performance is pursued in relation to diverse examples, including theatrical productions by the Royal Shakespeare Company, the BBC's ShakespeaRe-Told, the Reduced Shakespeare Company, and recent print editions of the complete works. These new readings build up a persuasive picture of the cultural and intellectual processes that determine how the authentically Shakespearean is distinguished from the fraudulent and adaptive. Adaptation thus emerges as the conceptually necessary but culturally problematic category that results from partial or occasional failures to recognize a shifting work in its textual-theatrical instance.

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.

'Kidnie's study presents original, sophisticated, and profoundly intelligent answers to important questions.' - Lukas Erne, University of Geneva 'This is a fine and productive book, one that will surely draw significant attention and commentary well beyond the precincts of Shakespeare studies.' - W.B. Worthen, Columbia University Shakespeare's plays continue to be circulated on a massive scale in a variety of guises - as editions, performances, and adaptations - and it is by means of such mediation that we come to know his drama. Shakespeare and the Problem of Adaptation addresses fundamental questions about this process of mediation, making use of the fraught category of adaptation to explore how we currently understand the Shakespearean work. To adapt implies there exists something to alter, but what constitutes the category of the 'play', and how does it relate to adaptation? How do 'play' and 'adaptation' relate to drama's twin media, text and performance? What impact might answers to these questions have on current editorial, performance, and adaptation studies? Margaret Jane Kidnie argues that 'play' and 'adaptation' are provisional categories - mutually dependent processes that evolve over time in accordance with the needs of users. This theoretical argument about the identity of works and the nature of text and performance is pursued in relation to diverse examples, including theatrical productions by the Royal Shakespeare Company, the BBC's ShakespeaRe-Told, the Reduced Shakespeare Company, and recent print editions of the complete works. These new readings build up a persuasive picture of the cultural and intellectual processes that determine how the authentically Shakespearean is distinguished from the fraudulent and adaptive. Adaptation thus emerges as the conceptually necessary but culturally problematic category that results from partial or occasional failures to recognize a shifting work in its textual-theatrical instance.

Shakespeare and Textual Studies gathers contributions from the leading specialists in the fields of manuscript and textual studies, book history, editing, and digital humanities to provide a comprehensive reassessment of how manuscript, print and digital practices have shaped the body of works that we now call 'Shakespeare'. This cutting-edge collection identifies the legacies of previous theories and places special emphasis on the most recent developments in the editing of Shakespeare since the 'turn to materialism' in the late twentieth century. Providing a wide-ranging overview of current approaches and debates, the book explores Shakespeare's poems and plays in light of new evidence, engaging scholars, editors, and book historians in conversations about the recovery of early composition and publication, and the ongoing appropriation and transmission of Shakespeare's works through new technologies.

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.

The most studied of Thomas Heywood's plays, A Woman Killed With Kindness explores the boundaries of marital punishment and the moral weight of mercy. This major new edition of this startling domestic tragedy offers the standard, depth and range associated with all Arden editions. The on-page commentary notes explain the language, references and staging issues posed by the text while the lengthy, illustrated introduction offers a lively overview of the play's historical, performance and critical contexts. This is the ideal edition for study and performance.

The Humorous Magistrate is a seventeenth-century satiric comedy extant in two highly distinctive manuscripts. This, the earliest and clearly working draft of the play is bound with three other plays (including The Emperor's Favourite, published by the Malone Society in 2010) in a volume in the library of the Newdigate family of Arbury Hall, Nuneaton, Warwickshire. The second version, showing yet another stage of revision not found in the Arbury manuscript and orientated towards performance, was purchased by the University of Calgary from the English antiquarian Edgar Osborne in 1972. The relationship between the manuscripts was discovered in 2005. The anonymous play has been attributed to John Newdigate III (1600-1642). Like The Emperor's Favourite, it takes aim at the court; its particular object of satire is governmental strategies under the Personal Rule of Charles I. The play appears in print for the first time in these separate editions. The volumes are illustrated with several plates, some provided for comparative purposes. -- .