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A New Companion to Renaissance Drama


A New Companion to Renaissance Drama


Blackwell Companions to Literature and Culture 1. Aufl.

von: Arthur F. Kinney, Thomas Warren Hopper

129,99 €

Verlag: Wiley-Blackwell
Format: EPUB
Veröffentl.: 20.04.2017
ISBN/EAN: 9781118824009
Sprache: englisch
Anzahl Seiten: 656

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Beschreibungen

A New Companion to Renaissance Drama provides an invaluable summary of past and present scholarship surrounding the most popular and influential literary form of its time. Original interpretations from leading scholars set the scene for important paths of future inquiry. A colorful, comprehensive and interdisciplinary overview of the material conditions of Renaissance plays, England's most important dramatic period Contributors are both established and emerging scholars, with many leading international figures in the discipline Offers a unique approach by organizing the chapters by cultural context, theatre history, genre studies, theoretical applications, and material studies Chapters address newest departures and future directions for Renaissance drama scholarship Arthur Kinney is a world-renowned figure in the field
List of Illustrations x Notes on Contributors xi Acknowledgments xviii Introduction 1Arthur F. Kinney and Thomas Warren Hopper Part I Context 9 1 The Politics of Renaissance England 11Norman Jones 2 Continental Influences 21Lawrence F. Rhu 3 Medieval and Reformation Roots 35Raphael Falco 4 Popular Culture and the Early Modern Stage 51Sophie Chiari and Francois Laroque 5 Multiculturalism and Early Modern Drama 65Scott Oldenburg 6 London and Westminster 75Ian W. Archer 7 Travel and Trade 88William H. Sherman 8 The Theater and the Early Modern Culture of Debt 98Amanda Bailey 9 Vagrancy 112William C. Carroll 10 Domestic Life 125Martin Ingram 11 Religious Persuasions, c.1580–c.1620 143Lori Anne Ferrell 12 Science, Natural Philosophy, and New Philosophy in Early Modern England 154Barbara H. Traister 13 Magic and Witchcraft 170Deborah Willis 14 Antitheatricality: The Theater as Scourge 182Leah S. Marcus Part II Theater History 193 15 Performance: Audiences, Actors, Stage Business 195S. P. Cerasano 16 Playhouses 211David Kathman 17 Theatrical License and Censorship 225Richard Dutton 18 Playing Companies and Repertory 239Roslyn L. Knutson 19 Rehearsal and Acting Practice 250Don Weingust 20 Boy Companies and Private Theaters 268Michael Shapiro 21 Women’s Involvement in Theatrical Production 282Natasha Korda 22 “To travayle amongst our frendes”: Touring 296Peter H. Greenfield 23 Progresses and Court Entertainments 309R. Malcolm Smuts 24 “What revels are in hand?” Performances in the Great Households 322Suzanne Westfall 25 Civic Drama 337Lawrence Manley Part III Genres 355 26 Masque 357David Lindley 27 The History Play: Shakespeare and Beyond 371Brian Walsh 28 Domestic Tragedy: Private Life on the Public Stage 388Lena Cowen Orlin 29 Revenge Tragedy 403Marissa Greenberg 30 Romance and Tragicomedy 417Jane Hwang Degenhardt and Cyrus Mulready Part IV Critical Approaches 441 31 Sexuality and Queerness on the Early Modern Stage 443Valerie Billing 32 Gendering the Stage 456Alison Findlay 33 Race and Early Modern Drama 474Mary Floyd?-Wilson 34 Staging Disability in Renaissance Drama 487David Houston Wood 35 Space and Place 501Adam Zucker 36 The Matter of Wit and the Early Modern Stage 513Ian Munro 37 Materialisms 529Elizabeth Williamson Part V Playwrights, Publishers, and Textual Studies 543 38 The Transmission of an English Renaissance Play?]Text 545Grace Ioppolo 39 Publishers of Drama 560Tara L. Lyons 40 Sidney, Cary, Cavendish: Playwrights of the Printed Page and a Future Stage 576Lara Dodds and Margaret Ferguson 41 Nonprofessional Playwrights 598Matteo Pangallo Index 612
Arthur F. Kinney is Thomas W. Copeland Professor of Literary History Emeritus in the University of Massachusetts and Founding Director of the Massachusetts Center for Interdisciplinary Renaissance Studies. He is the author and editor of a number of books and essays, including Renaissance Drama (editor, 2005), Shakespeare and Cognition (2006), Elizabethan and Jacobean England (2010), The Oxford Handbook of Shakespeare (editor, 2012), and Renaissance Reflections, Selected Essays 1976-2014 (2014). He is the only recipient of both the Paul Oskar Kristeller Lifetime Achievement Award from the Renaissance Society of America and the Jean Roberts Lifetime Achievement Award from the International Sidney Society. Thomas Warren Hopper is a Ph.D. candidate at the University of Massachusetts Amherst whose research focuses on classical reception. He has previously worked as the Walter T. Chmielewski Fellow for English Literary Renaissance, contributed to the editing of The Oxford Handbook of Shakespeare (2012). He teaches at Eagle Hill School in Hardwick, MA.
"A New Companion to Renaissance Drama offers a freshly innovative way of studying the great drama of England in the age of Shakespeare. With an impressive array of scholars and critics, this is an eloquent tribute and indispensable literary companion to the vitality of this fascinating field of study." David Bevington, University of Chicago A New Companion to Renaissance Drama provides an invaluable and wide-ranging exploration of the plays, the playwrights, the theater, and the culture of Early Modern England. This expansive guide to Renaissance plays and the world they played to is comprised of an outstanding collection of essays, many written by internationally known authorities across both prominent and emerging scholarly fields. Together they cover matters of theatrical representation within its material, historical, and cultural contexts, offering an inter-disciplinary approach to Renaissance drama, the most popular literary form of its time. Alongside close readings of selected passages from Shakespeare and his contemporaries, the authors offer original interpretations which will open up important paths of inquiry for conversations in the years ahead. The New Companion offers a significantly increased coverage of the field, drawing on the latest research and current scholarship. The editors have organized the chapters by cultural context throughout, covering genre studies, theoretical applications, and material studies. This volume will be a key text not only for scholars and graduate students of Renaissance drama and individual playwrights, and undergraduates studying theatre and English, especially Shakespeare, but also for general readers interested in drama.

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