|
Showing 1 - 12 of
12 matches in All Departments
This book establishes new information about the likely content of
ten lost plays from the period 1580-1642. These plays' authors
include Nashe, Heywood, and Dekker; and the plays themselves
connect in direct ways to some of the most canonical dramas of
English literature, including Hamlet, King Lear, The Changeling,
and The Duchess of Malfi. The lost plays in question are: Terminus
& Non Terminus (1586-8); Richard the Confessor (1593); Cutlack
(1594); Bellendon (1594); Truth's Supplication to Candlelight
(1600); Albere Galles (1602); Henry the Una (c. 1619); The Angel
King (1624); The Duchess of Fernandina (c. 1630-42); and The
Cardinal's Conspiracy (bef. 1639). From this list of bare titles,
it is argued, can be reconstructed comedies, tragedies, and
histories, whose leading characters included a saint, a robber, a
Medici duchess, an impotent king, at least one pope, and an angel.
In each case, newly-available digital research resources make it
possible to interrogate the title and to identify the play's
subject-matter, analogues, and likely genre. But these concrete
examples raise wider theoretical problems: What is a lost play?
What can, and cannot, be said about objects in this problematic
category? Known lost plays from the early modern commercial theatre
outnumber extant plays from that theatre: but how, in practice, can
one investigate them? This book offers an innovative theoretical
and practical frame for such work, putting digital humanities into
action in the emerging field of lost play studies.
This book establishes new information about the likely content of
ten lost plays from the period 1580-1642. These plays' authors
include Nashe, Heywood, and Dekker; and the plays themselves
connect in direct ways to some of the most canonical dramas of
English literature, including Hamlet, King Lear, The Changeling,
and The Duchess of Malfi. The lost plays in question are: Terminus
& Non Terminus (1586-8); Richard the Confessor (1593); Cutlack
(1594); Bellendon (1594); Truth's Supplication to Candlelight
(1600); Albere Galles (1602); Henry the Una (c. 1619); The Angel
King (1624); The Duchess of Fernandina (c. 1630-42); and The
Cardinal's Conspiracy (bef. 1639). From this list of bare titles,
it is argued, can be reconstructed comedies, tragedies, and
histories, whose leading characters included a saint, a robber, a
Medici duchess, an impotent king, at least one pope, and an angel.
In each case, newly-available digital research resources make it
possible to interrogate the title and to identify the play's
subject-matter, analogues, and likely genre. But these concrete
examples raise wider theoretical problems: What is a lost play?
What can, and cannot, be said about objects in this problematic
category? Known lost plays from the early modern commercial theatre
outnumber extant plays from that theatre: but how, in practice, can
one investigate them? This book offers an innovative theoretical
and practical frame for such work, putting digital humanities into
action in the emerging field of lost play studies.
Did Shakespeare's original audiences weep? Equally, while it seems
obvious that they must have laughed at plays performed in early
modern theatres, can we say anything about what their laughter
sounded like, about when it occurred, and about how, culturally, it
was interpreted? Related to both of these problems of audience
behaviour is that of the stage representation of laughing, and
weeping, both actions performed with astonishing frequency in early
modern drama. Each action is associated with a complex set of
non-verbal noises, gestures, and cultural overtones, and each is
linked to audience behaviour through one of the axioms of
Renaissance dramatic theory: that weeping and laughter on stage
cause, respectively, weeping and laughter in the audience. This
book is a study of laughter and weeping in English theatres,
broadly defined, from around 1550 until their closure in 1642. It
is concerned both with the representation of these actions on the
stage, and with what can be reconstructed about the laughter and
weeping of theatrical audiences themselves, arguing that both
actions have a peculiar importance in defining the early modern
theatrical experience.
Did Shakespeare's original audiences weep? Equally, while it seems
obvious that they must have laughed at plays performed in early
modern theatres, can we say anything about what their laughter
sounded like, about when it occurred, and about how, culturally, it
was interpreted? Related to both of these problems of audience
behaviour is that of the stage representation of laughing, and
weeping, both actions performed with astonishing frequency in early
modern drama. Each action is associated with a complex set of
non-verbal noises, gestures, and cultural overtones, and each is
linked to audience behaviour through one of the axioms of
Renaissance dramatic theory: that weeping and laughter on stage
cause, respectively, weeping and laughter in the audience. This
book is a study of laughter and weeping in English theatres,
broadly defined, from around 1550 until their closure in 1642. It
is concerned both with the representation of these actions on the
stage, and with what can be reconstructed about the laughter and
weeping of theatrical audiences themselves, arguing that both
actions have a peculiar importance in defining the early modern
theatrical experience.
As early modernists with an interest in the literary culture of
Shakespeare's time, we work in a field that contains many
significant losses: of texts, of contextual information, of other
forms of cultural activity. No account of early modern literary
culture is complete without acknowledgment of these lacunae, and
although lost drama has become a topic of increasing interest in
Shakespeare studies, it is important to recognize that loss is not
restricted to play-texts alone. Loss and the Literary Culture of
Shakespeare's Time broadens the scope of the scholarly conversation
about loss beyond drama and beyond London. It aims to develop
further models and techniques for thinking about lost plays, but
also of other kinds of lost early modern works, and even lost
persons associated with literary and theatrical circles. Chapters
examine textual corruption, oral preservation, quantitative
analysis, translation, and experiments in "verbatim theater", plus
much more.
Richard Brome was the leading comic playwright of 1630s London.
Starting his career as a manservant to Ben Jonson, he wrote a
string of highly successful comedies which were influential in
British theatre long after Brome's own playwriting career was cut
short by the closure of the theatres in 1642. This book offers the
first full-length chronological account of Brome's life and works,
drawing on a wide range of recently rediscovered manuscript
sources. It traces the early hostility to Brome from those who
wrote him off as a mere servant; his continuing struggles with
plague closures, contract disputes and theatrical takeover bids;
and his literary relationships with Jonson, Shakespeare and others.
Each of the surviving plays is discussed in relation to its social
and political context, and its sense of place. A final chapter
reviews Brome's enduring stageworthiness into the eighteenth and
nineteenth centuries, and the most recent Brome revivals. -- .
Shakespeare's plays are fascinated by the problems of speed and
flight. They are repeatedly interested in humans, spirits, and
objects that move very fast; become airborne; and in some cases
even travel into space. In Speed and Flight in Shakespeare, the
first study of any kind on the subject, Steggle looks at how
Shakespeare's language explores ideas of speed and flight, and what
theatrical resources his plays use to represent these states.
Shakespeare has, this book argues, an aesthetic of speed and
flight. Featuring chapters on The Comedy of Errors, A Midsummer
Night's Dream, Romeo and Juliet, Henry V, Macbeth and The Tempest,
this study opens up a new field around the 'historical
phenomenology' of early modern speed.
As early modernists with an interest in the literary culture of
Shakespeare's time, we work in a field that contains many
significant losses: of texts, of contextual information, of other
forms of cultural activity. No account of early modern literary
culture is complete without acknowledgment of these lacunae, and
although lost drama has become a topic of increasing interest in
Shakespeare studies, it is important to recognize that loss is not
restricted to play-texts alone. Loss and the Literary Culture of
Shakespeare's Time broadens the scope of the scholarly conversation
about loss beyond drama and beyond London. It aims to develop
further models and techniques for thinking about lost plays, but
also of other kinds of lost early modern works, and even lost
persons associated with literary and theatrical circles. Chapters
examine textual corruption, oral preservation, quantitative
analysis, translation, and experiments in "verbatim theater", plus
much more.
As perhaps the best-known and most-studied work in the canon of
Shakespeare's leading contemporary rival, Ben Jonson's Volpone
(1606) is a particularly important play for thinking about early
modern drama as a whole. This guide offers students an introduction
to its critical and performance history, including recent versions
on stage and screen. It includes a keynote chapter outlining major
areas of current research on the play and four new critical essays
presenting contrasting critical approaches focusing on literary
intertextuality; performance studies; political history; and
broader social history. Finally, a guide to critical, web-based and
production-related resources and an annotated bibliography provide
a basis for further individual research.
This is a comprehensive introduction to Ben Jonson's "Volpone" -
introducing its critical history, performance history, current
critical landscape and new directions in research on the play. As
perhaps the best-known and most-studied work in the canon of
Shakespeare's leading contemporary rival, Ben Jonson's "Volpone"
(1606) is a particularly important play for thinking about early
modern drama as a whole. This guide offers students an introduction
to its critical and performance history, including recent versions
on stage and screen. It includes a keynote chapter outlining major
areas of current research on the play and four new critical essays
presenting contrasting critical approaches focusing on literary
intertextuality; performance studies; political history; and
broader social history. Finally, a guide to critical, web-based and
production-related resources and an annotated bibliography provide
a basis for further individual research. "Continuum Renaissance
Drama" offers practical and accessible introductions to the
critical and performative contexts of key Elizabethan and Jacobean
plays. Each guide introduces the text's critical and performance
history but also provides students with an invaluable insight into
the landscape of current scholarly research through a keynote essay
on the state of the art and newly commissioned essays of fresh
research from different critical perspectives.
Continuum's "Introductions to British Literature and Culture
Series" provides practical guides to key literary periods. Guides
in the series help to orientate students as they begin a new module
or area of study, providing concise information on the historical,
cultural, literary and critical context and acting as an initial
map of the knowledge needed to study the literature and culture of
a specific period. Each guide includes an overview of the
historical period, intellectual contexts, major genres, critical
approaches and a guide to original research and resource materials
in the area, enabling students to progress confidently to further
study. The guide to "Renaissance Literature and Culture" provides
students with the ideal introduction to literature and its context
from 1533-1642, including: the historical, cultural and
intellectual background including religion, politics, exploration
and visual culture; major writers and genres including Spenser,
Sidney, Marlowe, Shakespeare and Jonson; concise explanations of
key terms needed to understand the literature and criticism; key
critical approaches to modernism from contemporary critics to the
present; and a chronology mapping historical events and literary
works and further reading including websites and electronic
resources.
Continuum's "Introductions to British Literature and Culture
Series" provides practical guides to key literary periods. Guides
in the series help to orientate students as they begin a new module
or area of study, providing concise information on the historical,
cultural, literary and critical context and acting as an initial
map of the knowledge needed to study the literature and culture of
a specific period. Each guide includes an overview of the
historical period, intellectual contexts, major genres, critical
approaches and a guide to original research and resource materials
in the area, enabling students to progress confidently to further
study. The guide to "Renaissance Literature and Culture" provides
students with the ideal introduction to literature and its context
from 1533-1642, including: the historical, cultural and
intellectual background including religion, politics, exploration
and visual culture; major writers and genres including Spenser,
Sidney, Marlowe, Shakespeare and Jonson; concise explanations of
key terms needed to understand the literature and criticism; key
critical approaches to modernism from contemporary critics to the
present; and a chronology mapping historical events and literary
works and further reading including websites and electronic
resources.
|
You may like...
Loot
Nadine Gordimer
Paperback
(2)
R398
R330
Discovery Miles 3 300
Poor Things
Emma Stone, Mark Ruffalo, …
DVD
R357
Discovery Miles 3 570
Loot
Nadine Gordimer
Paperback
(2)
R398
R330
Discovery Miles 3 300
Loot
Nadine Gordimer
Paperback
(2)
R398
R330
Discovery Miles 3 300
|