A.M. Potter Editors, Texts, and Performance: the Value of Textual Criticism in the Age of Relativity
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The Concise Oxford Dictionary of Literary Terms
The Concise Oxford Dictionary of Literary Terms CHRIS BALDICK OXFORD UNIVERSITY PRESS OXFORD PAPERBACK REFERENCE The Concise Oxford Dictionary of Literary Terms Chris Baldick is Professor of English at Goldsmiths' College, University of London. He edited The Oxford Book of Gothic Tales (1992), and is the author of In Frankenstein's Shadow (1987), Criticism and Literary Theory 1890 to the Present (1996), and other works of literary history. He has edited, with Rob Morrison, Tales of Terror from Blackwood's Magazine, and The Vampyre and Other Tales of the Macabre, and has written an introduction to Charles Maturin's Melmoth the Wanderer (all available in the Oxford World's Classics series). The most authoritative and up-to-date reference books for both students and the general reader. Abbreviations Literary Terms Oxford ABC of Music Local and Family History Paperback Accounting London Place Names* Archaeology* Mathematics Reference Architecture Medical Art and Artists Medicines Art Terms* Modern Design* Astronomy Modern Quotations Better Wordpower Modern Slang Bible Music Biology Nursing Buddhism* Opera Business Paperback Encyclopedia Card Games Philosophy Chemistry Physics Christian Church Plant-Lore Classical Literature Plant Sciences Classical Mythology* Political Biography Colour Medical Political Quotations Computing Politics Dance* Popes Dates Proverbs Earth Sciences Psychology* Ecology Quotations Economics Sailing Terms Engineering* Saints English Etymology Science English Folklore* Scientists English Grammar Shakespeare English -
Hamlet's Hauntographology
12 Hamlet’s Hauntographology Film Philology, Facsimiles, and Textual Faux-rensics Richard Burt The medium of the media themselves (news, the press, tele-communications, techno- tele-discursivity, techno-tele-iconicity, that which in general assures and determines the spacing of public space, the very possibility of the res publica and the phenomenality of the political), this element itself is neither living nor dead, present nor absent: it spectralizes. It does not belong to ontolology, to the discourse on the Being of beings, or to the essence of life or death. It requires, then, what we call . hauntology. Jacques Derrida (1994: 50–1) Photography has killed editing. Period. (Someone has to tell the editors.)1 Randall McLeod (1999: 72, 154) That would be scann’d. Hamlet 3.3.752 Signing Your Own Death Warrant: Hamlet’s Specters of Provenance “A Hamlet in Flames,” an episode of a British television series entitled The New Adventures of Charlie Chan (1957), begins with a prologue about the provenance of a rare book: a Nazi officer steals an imaginary First Folio of Hamlet (dated 1603) from its present owner, a French count, in whose castle the Nazi is now billeted. The Nazi occupier forces the count to “sell” what I will henceforth call the Fauxlio Hamlet for a fraction of its market value and demands that he sign a bill of S A Companion to Literature, Film, and Adaptation, First Edition. Edited by Deborah Cartmell. © 2012 Blackwell Publishing Ltd. Published 2012 by Blackwell Publishing Ltd. Deborah Cartmell—A Companion to Literature, Film, and Adaptation Cartmell_4975_c12_main.indd 216 5/9/2012 1:38:34 PM Hamlet’s Hauntographology 217 Figure 12.1 “A Hamlet in Flames,” from The New Adventures of Charlie Chan. -
Will Kemp, Shakespeare and the Composition of Romeo and Juliet
162 Issues in Review 43 See A.J. Hoenselaars, Images of Englishmen and Foreigners in the Drama of Shake- speare and His Contemporaries: A Study in Stage Characters and National Identity in English Renaissance Drama (London and Toronto, 1992). 44 G.K. Hunter, ‘Porter, Henry (d. 1599)’, The Oxford Dictionary of National Biography (Oxford, 2004) http://www.oxforddnb.com/view/article/22568 (accessed 21 Dec 2006). 45 Henslowe’s Diary, 63, 242–3. 46 See Hunter, ‘Porter, Henry’. 47 Lucy Munro, ‘Early Modern Drama and the Repertory Approach’, Research Oppor- tunities in Renaissance Drama 42 (2003), 1–33. Will Kemp, Shakespeare, and the Composition of Romeo and Juliet ‘Enter Will Kemp’, states Romeo and Juliet’s 1599 second quarto in its uniquely specific stage direction towards the end of scene 17.1 This uniqueness makes the quarto, which editors know as Q2, a crucially important witness to the play’s early performances, and to Kemp’s career with Shakespeare and the Lord Chamberlain’s Men. The Romeo and Juliet quartos, however, contain a number of other curious references to Kemp which act as further evidence of the working relationship between the dramatist and his company’s star clown. A comparison of the play’s two earliest quartos, Q1 of 1597 and Q2 of 1599, shows the clown role to be both malleable and formative in the work’s ongoing generic development. A study of Kemp in the play, through the textual anomalies which separate the printed quartos, thus provides a record of some of the transformations Romeo and Juliet underwent during the first years of its existence, as the company corrected, revised, abridged, and changed the scripts in order to capitalize on and contain the famous clown’s distinctive talents. -
The Art of Shakespeare's Sonnets
The Art of SHAKESPEARE’S SONNETS The Art of SHAKESPEARE’S SONNETS HELEN VENDLER The Belknap Press of HARVARD UNIVERSITY PRESS cambridge, massachusetts london, england Copyright © 1997 by the President and Fellows of Harvard College All rights reserved Printed in the United States of America Designed by Marianne Perlak First Harvard University Press paperback edition, 1999 Publication of this book has been aided by a grant from the Hyder Edward Rollins Fund. Library of Congress Cataloging-in-Publication Data Vendler, Helen Hennessy. The art of Shakespeare’s sonnets / Helen Vendler. p. cm. Includes bibliographical references and index. ISBN 0–674–63711–9 (cloth) ISBN 0-674-63712-7 (pbk.) 1. Shakespeare, William, 1564–1616. Sonnets. 2. Sonnets, English—History and criticism. I. Title. PR2848.V46 1997 821′.3—dc21 97–15306 For Joan Weitzner Levine Those friends thou hast, and their adoption tried, Grapple them unto thy soul with hoops of steel. —Hamlet ACKNOWLEDGMENTS am sincerely grateful to those who have preceded me in writing about I the Sonnets. Though I mention only recent scholars in my Introduc- tion, I am of course also indebted to all those, from the eighteenth cen- tury onward, who have reflected on these poems. My understanding of individual sonnets has been helped over the years by the editions and commentaries and books and articles and translations I have absorbed. The sheer volume of comment on Shakespeare precludes my footnoting work by others on individual sonnets, but I regard my own writing as part of a long collaborative effort to take the measure of Shakespeare—an ef- fort that shows no sign of waning. -
The Anachronistic Shrews
Cleveland State University EngagedScholarship@CSU English Faculty Publications English Department Spring 4-1-2009 The Anachronistic Shrews James J. Marino Cleveland State University, [email protected] Follow this and additional works at: https://engagedscholarship.csuohio.edu/cleng_facpub Part of the Literature in English, British Isles Commons How does access to this work benefit ou?y Let us know! Publisher's Statement Copyright © 2009 The Johns Hopkins University Press. This article first appeared in Shakespeare Quarterly, Volume 60, Issue 1, Spring 2009, 25-46. Recommended Citation Marino, James J., "The Anachronistic Shrews" (2009). English Faculty Publications. 23. https://engagedscholarship.csuohio.edu/cleng_facpub/23 This Article is brought to you for free and open access by the English Department at EngagedScholarship@CSU. It has been accepted for inclusion in English Faculty Publications by an authorized administrator of EngagedScholarship@CSU. For more information, please contact [email protected]. THE ANACHRONISTIC SHREWS 25 The Anachronistic Shrews James J. Marino I. Sincklo Recalls Soto he First Folio text of The Taming of the Shrew has not yet gone a hundred Tlines when it reaches a serious crux—a single line of type that recalls two distinct and distant moments in the long company history of the King’s Men. The Lord in the Sly material, greeting the visiting players, singles one out for praise: Lord This fellow I remember, Since once he plaide a Farmers eldest sonne, ’Twas where you woo’d the Gentlewoman so well: I haue forgot your name: but sure that part Was aptly fitted, and naturally perform’d. (TLN 93–97) 1 The reply, with its speech prefix, provides the crux: Sincklo I thinke ’twas Soto that your honor meanes. -
ABSTRACT Title of Dissertation: LAUDING and LOATHING in the WORKS of SHAKESPEARE
ABSTRACT Title of dissertation: LAUDING AND LOATHING IN THE WORKS OF SHAKESPEARE: EPIDEICTIC SKEPTICISM AND THE ETHICS OF PRAISE Suzanne Marie Tartamella, Doctor of Philosophy, 2010 Dissertation directed by: Professor Marshall Grossman Department of English My dissertation argues that Shakespeare transforms Aristotelian epideixis (the rhetorical mode comprising praise and blame) into a skeptical mode by laying bare its embedded ethical and epistemological problems. Shakespeare, that is, uses the evaluative procedures inherent within epideictic poetry to scrutinize its own principles of representation, transforming a poetics of praise into a poetics of appraisal. His innovations in the Petrarchan sonnet form stand at the center of my project, but I also illuminate how Shakespeare’s epideictic skepticism underlies his experimentation with tragedy and comedy. In a broader perspective, my project shows how an intimacy between philosophical skepticism and the practice of praise had its roots in the cultural and religious upheavals of the sixteenth century. The cornerstone of my project is Shakespeare’s young-man sonnets, which provide a unique angle from which to understand the dark-lady poems and some key Shakespearean plays. I show that while the first sequence (1-126) investigates the epistemology of praise, the second (127-52) describes the dramatic interactions between lovers who have advanced beyond epideictic poetry and its accompanying skepticism. Chapter 1, primarily an introduction to my study, considers the religious and cultural background for Shakespeare’s epideictic skepticism, reviews classical and Renaissance theories of praise, and closely reads poems by Shakespeare and Petrarch. Chapter 2 explores the canker as the central symbol of Shakespeare’s epideictic skepticism and as a threat to the rose of beauty and praise. -
Charlotte Smith and the Sonnet
Charlotte Smith and the Sonnet Form, Place, and Tradition in the Late Eighteenth Century Romantic Reconfigurations: Studies in Literature and Culture 1780‒1850 Series Editors: Professor Tim Fulford, De Montfort University Professor Alan Vardy, Hunter College and the Graduate Center, CUNY As befits a series published in the city of Roscoe and Rushton, a city that linked Britain to the transatlantic trade in cotton, in sugar, and in people, Romantic Reconfigurations reconfigures the literary and cultural geographies and histories of Romanticism. Topics featured include, but are by no means confined to, provincial and labouring-class writing, diasporic and colonial writing, natural history and other scientific discourse, journalism, popular culture, music and theatre, landscape and nature, cosmopolitanism and travel, poetics and form. Charlotte Smith and the Sonnet Form, Place, and Tradition in the Late Eighteenth Century Bethan Roberts Charlotte Smith and the Sonnet LIVERPOOL UNIVERSITY PRESS First published 2019 by Liverpool University Press 4 Cambridge Street Liverpool L69 7ZU Copyright © 2019 Bethan Roberts The right of Bethan Roberts to be identified as the author of this book has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. British Library Cataloguing-in-Publication