Philippa Berry draws on feminist theory, postmodern thought and queer theory, to challenge existing critical notions of what is fundamental to Shakespearean tragedy.
A Theory of Adaptation explores the continuous development of creative adaptation, and argues that the practice of adapting is central to the story-telling imagination.
Seismic shifts in the theatrical meanings of The Merry Wives of Windsor have taken place across the centuries as Shakespeare's frequently performed play has relocated to Windsor across the world, journeying along the production/adaptation/appropriation continuum.
Tropes and the Literary-Scientific Revolution: Forms of Proof argues that the rise of mechanical science in the seventeenth century had a profound impact on both language and literature.
En el presente libro se pueden encontrar editadas por primera vez las "comedias con música" de Las amazonas de España (1720) y La hazaña mayor de Alcides (1723), de José de Cañizares, así como también las piezas breves que acompañaron a estas representaciones en el Coliseo del Buen Retiro.
Shakespeare and Civil Unrest in Britain and the United States extends the growing body of scholarship on Shakespeare's appropriation by examining how the plays have been invoked during periods of extreme social, political, and racial turmoil.
Bringing together current intermedial discourses on Shakespeare, music, and dance with the affective turn in the humanities, Dramaturgies of Love in Romeo and Juliet offers a unique and highly innovative transdisciplinary discussion of "e;unspeakable"e; love in one of the most famous love stories in literary history: the tragic romance of Romeo and Juliet.
This book explores a neglected feature of intellectual history and literature in the early modern period: the ways in which the body was theorized and represented as an intelligent cognitive agent, with desires, appetites, and understandings independent of the mind.
La comedia famosa de Saber del mal y el bien fue escrita por Calderón entre los años 1624 y 1627 y representada en el palacio del Pardo a finales de 1627 o principios de 1628.
Focusing on European tragicomedy from the early modern period to the theatre of the absurd, Verna Foster here argues for the independence of tragicomedy as a genre that perceives and communicates human experience differently from the various forms of tragedy, comedy, and the drame (serious drama that is neither comic nor tragic).
In the first book-length study explicitly to connect the postcolonial trope of hybridity to Renaissance literature, Gary Schmidt examines how sixteenth- and seventeenth-century English authors, artists, explorers and statesmen exercised a concerted effort to frame questions of cultural and artistic heterogeneity.
With its many rites of initiation (religious, educational, professional or sexual), Elizabethan and Jacobean education emphasized both imitation and discovery in a struggle to bring population to a minimal literacy, while more demanding techniques were being developed for the cultural elite.
Focusing on stage directions, implied stage action in the dialogue, and on production choices available at key moments, this Handbook treats the script like a rehearsal in progress and encourages the imagining of a physical narrative where the play's meanings and our responses are shaped by staged actions.
The idea of Shakespearean genius and sublimity is usually understood to be a product of the Romantic period, promulgated by poets such as Coleridge and Byron who promoted Shakespeare as the supreme example of literary genius and creative imagination.
This reissed edition of Longman Annotated Texts King Lear includes comprehensive notes, annotations and an introduction, all designed to be of use to undergraduates and interested readers.
Offering evidence of women's extensive contributions to the theatrical landscape, this volume sharply challenges the assumption that the stage was 'all male' in early modern England.
Shakespeare's Religious Allusiveness complicates debates about whether Shakespeare's plays are fundamentally Protestant or Catholic in sympathy, challenging analyses that either find Protestant elements consistently undercutting Catholic motifs or, less often, discover evidence of the playwright's endorsement of Catholic doctrine and customs.
Referencing early modern English play texts alongside contemporary records, accounts and statutes, this study offers an overdue assessment of the relationship between the dramatic efforts of the universities and early modern male identity.
Reading Shakespeare in Jewish Theological Frameworks: Shylock Beyond the Holocaust uses Jewish theology to mount a courageous new reading of a four-hundred-year-old play, The Merchant of Venice.
Reading Shakespeare in Jewish Theological Frameworks: Shylock Beyond the Holocaust uses Jewish theology to mount a courageous new reading of a four-hundred-year-old play, The Merchant of Venice.
Disguise devices figure in many early modern English plays, and an examination of them clearly affords an important reflection on the growth of early theatre as well as on important aspects of the developing nation.
This volume investigates the early modern understanding of twinship through new readings of plays, informed by discussions of twins appearing in such literature as anatomy tracts, midwifery manuals, monstrous birth broadsides, and chapbooks.
The essays gathered here demonstrate and justify the excitement and promise of cognitive historicism, providing a lively introduction to this new and quickly growing area of literary studies.
It is widely acknowledged that the hit franchise Game of Thrones is based on the Wars of the Roses, a bloody fifteenth-century civil war between feuding English families.
This diachronic study of Boudica serves as a sourcebook of references to Boudica in the early modern period and gives an overview of the ways in which her story was processed and exploited by the different players of the times who wanted to give credence and support to their own belief systems.
