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Reading Drama in Tudor England is about the print invention of
drama as a category of text designed for readerly consumption.
Arguing that plays were made legible by the printed paratexts that
accompanied them, it shows that by the middle of the sixteenth
century it was possible to market a play for leisure-time reading.
Offering a detailed analysis of such features as title-pages,
character lists, and other paratextual front matter, it suggests
that even before the establishment of successful permanent
playhouses, playbooks adopted recognisable conventions that not
only announced their categorical status and genre but also
suggested appropriate forms of use. As well as a survey of implied
reading practices, this study is also about the historical owners
and readers of plays. Examining the marks of use that survive in
copies of early printed plays, it explores the habits of
compilation and annotation that reflect the striking and often
unpredictable uses to which early owners subjected their playbooks.
Reading Drama in Tudor England is about the print invention of
drama as a category of text designed for readerly consumption.
Arguing that plays were made legible by the printed paratexts that
accompanied them, it shows that by the middle of the sixteenth
century it was possible to market a play for leisure-time reading.
Offering a detailed analysis of such features as title-pages,
character lists, and other paratextual front matter, it suggests
that even before the establishment of successful permanent
playhouses, playbooks adopted recognisable conventions that not
only announced their categorical status and genre but also
suggested appropriate forms of use. As well as a survey of implied
reading practices, this study is also about the historical owners
and readers of plays. Examining the marks of use that survive in
copies of early printed plays, it explores the habits of
compilation and annotation that reflect the striking and often
unpredictable uses to which early owners subjected their playbooks.
Essays on book history, manuscripts and reading during a period of
considerable change. The production, transmission, and reception of
texts from England and beyond during the late medieval and early
renaissance periods are the focus of this volume. Chapters consider
the archives and the material contexts in which texts were
produced, read, and re-read; the history of specific manuscripts
and early printed books; and some of the continuities and changes
in literary and book production, dissemination, and reception in
the fifteenth and sixteenth centuries. Responding to Professor
Julia Boffey's pioneering work on medieval and early Tudor material
and literary culture, they cover a range of genres - from practical
texts written in Latin to works of Middle English poetryand prose,
both secular and religious - and examine an assortment of different
reading contexts: lay, devotional, local, regional, and national.
TAMARA ATKIN is Senior Lecturer in Late Medieval and Early
RenaissanceLiterature, and JACLYN RAJSIC is Lecturer in Medieval
Literature, at the School of English and Drama, Queen Mary
University of London. Contributors: Laura Ashe, Priscilla Bawcutt,
Martin Camargo, Margaret Connolly, Robert R. Edwards, A.S.G.
Edwards, Susanna Fein, Joel Grossman, Alfred Hiatt, Pamela M. King,
Matthew Payne, Derek Pearsall, Corinne Saunders, Barry Windeatt,
R.F. Yeager.
An examination of how The Book of Psalms shaped medieval thought
and helped develop the medieval English literary canon. The Book of
Psalms had a profound impact on English literature from the
Anglo-Saxon to the late medieval period. This collection examines
the various ways in which they shaped medieval English thought and
contributed to the emergence of an English literary canon. It
brings into dialogue experts on both Old and Middle English
literature, thus breaking down the traditional disciplinary
binaries of both pre- and post-Conquest English and late medieval
and Early Modern, as well as emphasizing the complex and
fascinating relationship between Latin and the vernacular languages
of England. Its three main themes, translation, adaptation and
voice, enable a rich variety of perspectives on the Psalms and
medieval English literature to emerge. TAMARA ATKIN is Senior
Lecturer in Late Medieval and Early Renaissance Literature at Queen
Mary University of London; FRANCIS LENEGHAN is Associate Professor
of OldEnglish at The University of Oxford and a Fellow of St Cross
College, Oxford Contributors: Daniel Anlezark, Mark Faulkner,
Vincent Gillespie, Michael P. Kuczynski, David Lawton, Francis
Leneghan, Jane Roberts, Mike Rodman Jones, Elizabeth Solopova, Lynn
Staley, Annie Sutherland, Jane Toswell, Katherine Zieman.
The Drama of Reform establishes the impact of late medieval and
early modern religious reform on dramaturgy. Taking an
interdisciplinary approach, it examines the interactions between
theatricality and theology across a range of different plays
including the Croxton Play of the Sacrament, Jacke Jugeler, John
Bale's Three Laws, and Lewis Wager's Life and Repentaunce of Mary
Magdalene. Tracing the development of arguments concerning the
interpretation of the sacraments, the relationship between priests
and players, and the use and abuse of imagery and drama in
religious worship, The Drama of Reform draws on a rich variety of
contextual materials including liturgical texts, heresy trial
accounts, dramatic treatises, polemical tracts, and religious laws.
Focussed on the period between Archbishop Arundel's Constitutions
in the fifteenth century and Archbishop Cranmer's second Book of
Common Prayer in the sixteenth, The Drama of Reform explores the
phenomenological similarities between drama and certain religious
rites, notably the eucharist, and proposes that religious reform
prompted attempts to reform dramaturgy. In presenting this
analysis, the author argues that while drama continued to function
as dramatic propaganda, efforts to initiate new modes of playing
were only partially successful.
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