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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 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.
Presenting the first exploration of Christopher Marlowe's complex
place in the canon, this collection reads Marlowe's work against an
extensive backdrop of repertory, publication, transmission, and
reception. Wide-ranging and thoughtful chapters consider Marlowe's
deliberate engagements with the stage and print culture, the agents
and methods involved in the transmission of his work, and his
cultural reception in the light of repertory and print evidence.
With contributions from major international scholars, the volume
considers all of Marlowe's oeuvre, offering illuminating approaches
to his extended animation in theatre and print, from the putative
theatrical debut of Tamburlaine in 1587 to the most current
editions of his work.
Presenting the first exploration of Christopher Marlowe's complex
place in the canon, this collection reads Marlowe's work against an
extensive backdrop of repertory, publication, transmission, and
reception. Wide-ranging and thoughtful chapters consider Marlowe's
deliberate engagements with the stage and print culture, the agents
and methods involved in the transmission of his work, and his
cultural reception in the light of repertory and print evidence.
With contributions from major international scholars, the volume
considers all of Marlowe's oeuvre, offering illuminating approaches
to his extended animation in theatre and print, from the putative
theatrical debut of Tamburlaine in 1587 to the most current
editions of his work.
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