This collection of essays is part of a new phase in Shakespeare studies. The traditional view of Shakespeare is that he was a man of the theater who showed no interest in the printing of his plays, producing works that are only fully realized in performance. This view has recently been challenged by critics, arguing that Shakespeare was a literary "poet-playwright," concerned with his readers as well as his audiences. "Shakespeare's Book" offers a vital contribution to this critical debate, and examines its wider implications for how we conceive of Shakespeare and his works. Bringing together an impressive group of international Shakespeare scholars, the volume explores both Shakespeare's relationship with actual printers, patrons, and readers, and the representation of writing, reading, and print within his works themselves.

Butterworth-Heinemann's CIM Coursebooks have been designed to match the syllabus and learning outcomes of our new qualifications and should be useful aids in helping students understand the complexities of marketing. The discussion and practical application of theories and concepts, with relevant examples and case studies, should help readers make immediate use of their knowledge and skills gained from the qualifications.' Professor Keith Fletcher, Director of Education, The Chartered Institute of Marketing 'Here in Dubai, we have used the Butterworth-Heinemann Coursebooks in their various forms since the very beginning and have found them most useful as a source of recommended reading material as well as examination preparation.' Alun Epps, CIM Centre Co-ordinator, Dubai University College, United Arab Emirates Butterworth-Heinemann's official CIM Coursebooks are the definitive companions to the CIM professional marketing qualifications. The only study materials to be endorsed by The Chartered Institute of Marketing (CIM), all content is carefully structured to match the syllabus and is written in collaboration with the CIM faculty. Each chapter is packed full of case studies, study tips and activities to test your learning and understanding as you go along. *The coursebooks are the only study guide reviewed and approved by CIM (The Chartered Institute of Marketing). *Each book is crammed with a range of learning objectives, cases, questions, activities, definitions, study tips and summaries to support and test your understanding of the theory. *Past examination papers and examiners' reports are available online to enable you to practise what has been learned and help prepare for the exam and pass first time. *Extensive online materials support students and tutors at every stage. Based on an understanding of student and tutor needs gained in extensive research, online materials have been designed specifically for CIM students and created exclusively for Butterworth-Heinemann. Check out exam dates on the Online Calendar, see syllabus links for each course, and access extra mini case studies to cement your understanding. Explore marketingonline.co.uk and access online versions of the coursebooks and further reading from Elsevier and Butterworth-Heinemann. INTERACTIVE, FLEXIBLE, ACCESSIBLE ANY TIME, ANY PLACE www.marketingonline.co.uk

Butterworth-Heinemann's CIM Coursebooks have been designed to match the syllabus and learning outcomes of our new qualifications and should be useful aids in helping students understand the complexities of marketing. The discussion and practical application of theories and concepts, with relevant examples and case studies, should help readers make immediate use of their knowledge and skills gained from the qualifications. Professor Keith Fletcher, Director of Education, The Chartered Institute of MarketingHere in Dubai, we have used the Butterworth-Heinemann Coursebooks in their various forms since the very beginning and have found them most useful as a source of recommended reading material as well as examination preparation. Alun Epps, CIM Centre Co-ordinator, Dubai University College, United Arab Emirates Butterworth-Heinemann's official CIM Coursebooks are the definitive companions to the CIM professional marketing qualifications. The only study materials to be endorsed by The Chartered Institute of Marketing (CIM), all content is carefully structured to match the syllabus and is written in collaboration with the CIM faculty. Each chapter is packed full of case studies, study tips and activities to test your learning and understanding as you go along.The coursebooks are the only study guide reviewed and approved by CIM (The Chartered Institute of Marketing).Each book is crammed with a range of learning objectives, cases, questions, activities, definitions, study tips and summaries to support and test your understanding of the theory.Past examination papers and examiners reports are available online to enable you to practise what has been learned and help prepare for the exam and pass first time.Extensive online materials support students and tutors at every stage.

This book examines Shakespeare's fascination with the art of narrative and the visuality of language. Richard Meek complicates our conception of Shakespeare as either a 'man of the theatre' or a 'literary dramatist', suggesting ways in which his works themselves debate the question of text versus performance. Beginning with an exploration of the pictorialism of Shakespeare's narrative poems, the book goes on to examine several moments in Shakespeare's dramatic works when characters break off the action to describe an absent, 'offstage' event, place or work of art. Meek argues that Shakespeare does not simply prioritise drama over other forms of representation, but rather that he repeatedly exploits the interplay between different types of mimesis - narrative, dramatic and pictorial - in order to beguile his audiences and readers. Setting Shakespeare's works in their literary and rhetorical contexts, and engaging with contemporary literary theory, the book offers new readings of Venus and Adonis, The Rape of Lucrece, Hamlet, King Lear and The Winter's Tale. The book will be of particular relevance to readers interested in the relationship between verbal and visual art, theories of representation and mimesis, Renaissance literary and rhetorical culture, and debates regarding Shakespeare's status as a literary dramatist.

This book examines Shakespeare's fascination with the art of narrative and the visuality of language. Richard Meek complicates our conception of Shakespeare as either a 'man of the theatre' or a 'literary dramatist', suggesting ways in which his works themselves debate the question of text versus performance. Beginning with an exploration of the pictorialism of Shakespeare's narrative poems, the book goes on to examine several moments in Shakespeare's dramatic works when characters break off the action to describe an absent, 'offstage' event, place or work of art. Meek argues that Shakespeare does not simply prioritise drama over other forms of representation, but rather that he repeatedly exploits the interplay between different types of mimesis - narrative, dramatic and pictorial - in order to beguile his audiences and readers. Setting Shakespeare's works in their literary and rhetorical contexts, and engaging with contemporary literary theory, the book offers new readings of Venus and Adonis, The Rape of Lucrece, Hamlet, King Lear and The Winter's Tale. The book will be of particular relevance to readers interested in the relationship between verbal and visual art, theories of representation and mimesis, Renaissance literary and rhetorical culture, and debates regarding Shakespeare's status as a literary dramatist.

This collection of essays offers a major reassessment of the meaning and significance of emotional experience in the work of Shakespeare and his contemporaries. Recent scholarship on early modern emotion has relied on a medical-historical approach, resulting in a picture of emotional experience that stresses the dominance of the material, humoral body. The Renaissance of emotion seeks to redress this balance by examining the ways in which early modern texts explore emotional experience from perspectives other than humoral medicine. The chapters in the book seek to demonstrate how open, creative and agency-ridden the experience and interpretation of emotion could be. Taken individually, the chapters offer much-needed investigations into previously overlooked areas of emotional experience and signification; taken together, they offer a thorough re-evaluation of the cultural priorities and phenomenological principles that shaped the understanding of the emotive self in this period. -- .

This book offers a comprehensive reassessment of ekphrasis: the verbal representation of visual art. Ekphrasis has been traditionally regarded as a form of paragone (competition) between word and image. This interdisciplinary collection of essays seeks to complicate this critical paradigm and proposes a more reciprocal model of ekphrasis that involves an encounter or exchange between visual and textual cultures. This critical and theoretical shift demands a new form of ekphrastic poetics, which is less concerned with representational and institutional struggles, and more concerned with ideas of ethics, affect and intersubjectivity. Ekphrastic encounters brings together leading scholars working in the field of word-and-image studies and offers a fresh exploration of ekphrastic texts from the Renaissance to the present day. Taken together, the chapters establish a new set of theoretical frameworks for exploring the ekphrastic encounter. -- .

This collection of essays offers a major reassessment of the meaning and significance of emotional experience in the work of Shakespeare and his contemporaries. Recent scholarship on early modern emotion has relied on a medical-historical approach, resulting in a picture of emotional experience that stresses the dominance of the material, humoral body. The Renaissance of emotion seeks to redress this balance by examining the ways in which early modern texts explore emotional experience from perspectives other than humoral medicine. The chapters in the book seek to demonstrate how open, creative and agency-ridden the experience and interpretation of emotion could be. Taken individually, the chapters offer much-needed investigations into previously overlooked areas of emotional experience and signification; taken together, they offer a thorough re-evaluation of the cultural priorities and phenomenological principles that shaped the understanding of the emotive self in the early modern period. The Renaissance of emotion will be of particular interest to students and scholars of Shakespeare and Renaissance literature, the history of emotion, theatre and cultural history, and the history of ideas. -- .