Education Publications
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Witches and Ancients and Fools, Oh My!
Witches and Ancients and Fools, Oh My! WBHS Library… Destiny Library Catalog: Search for print materials held in the WBHS Library; the collection includes literary criticism and many items on Shakespeare and his works Online Subscription Databases: Suggested databases for this project; please note that usernames and passwords are required when using these databases at home; a flyer with these passwords is available in the library Literature Criticism Online Literature Resource Center Gale Virtual Reference Library/Literature: Electronic reference books, no check-out required On the Web… The Cambridge History of English and American Literature: Considered one of the most important works of literary history and criticism, this complete online version contains thousands of essays with topics on all aspects of literature and writing, from Bartleby.com Internet Public Library Literary Criticism: IPL2 offers links to over 4500 critical and biographical websites about authors and their works. The Complete Works of William Shakespeare: All of Shakespeare's works, searchable by keyword. Includes related articles and recommended links. Folger Shakespeare Library: Shakespearean material and also a vast collection of rare Renaissance books and manuscripts on all disciplines. The Oxford Shakespeare: The 1914 Oxford edition of the Complete Works of William Shakespeare ranks among the most authoritative published this century. Search plays, sonnets and miscellaneous verse, which constitute the literary cornerstone of Western civilization. From Bartleby.com Mr. Shakespeare and the Internet: A very user-friendly Shakespeare site that includes information on his life and times, including a timeline and genealogy, sources for his works, scholarly criticism, the theatre, the Renaissance, teacher materials, links to other good sites and more. -
The Dramatic Records of Sir Henry Herbert, Master of the Revels, 1623-1673
ill "iil! !!;i;i;i; K tftkrmiti THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES Digitized by the Internet Archive in 2007 with funding from IVIicrosoft Corporation http://www.archive.org/details/dramaticrecordsoOOgreaiala CORNELL STUDIES IN ENGLISH EDITED BY JOSEPH QUINCY ADAMS LANE COOPER CLARK SUTHERLAND NORTHUP THE DRAMATIC RECORDS OF SIR HENRY HERBERT MASTER OF THE REVELS, 1623-1673 EDITED BY JOSEPH QUINCY ADAMS CORNELL UNIVERSITY NEW HAVEN: VALE UNIVERSITY PRESS LONDON: HUMPHREY MILKORD OXFORD UNIVERSITY PRESS MDCCCCXVII 7 7 Copyright, 191 By Yale University Press First published, October, 191 PRESS OF THE NEW ERA PRINTING COMPANY LANCASTER, PA. College Library TO CLARK SUTHERLAND NORTHUP AS A TOKEN OF ESTEEM 1092850 PREFACE The dramatic records of the Office of the Revels during the reigns of Edward VI, Mar>', and Elizabeth have been admirably edited with full indexes and notes by Professor Albert Feuillerat; but the records of the Office during the reigns of James I, Charles I, and Charles TI remain either unedited or scattered in mis- cellaneous volumes, none of which is indexed. Every scholar working in the field of the Tudor-Stuart drama must have felt the desirability of having these later records printed in a more accessible form. In the present volume I have attempted to bring together the dramatic records of Sir Henry Herbert, during whose long administration the Office of the Revels attained the height of its power and importance. These records, most of them preserved through Herbert's own care, consist of his office-book, covering the period of 1 622-1 642, a few documents relating to the same period, and miscellaneous documents relating to the management of the Office after the Restoration. -
The Oxfordian Volume 21 October 2019 ISSN 1521-3641 the OXFORDIAN Volume 21 2019
The Oxfordian Volume 21 October 2019 ISSN 1521-3641 The OXFORDIAN Volume 21 2019 The Oxfordian is the peer-reviewed journal of the Shakespeare Oxford Fellowship, a non-profit educational organization that conducts research and publication on the Early Modern period, William Shakespeare and the authorship of Shakespeare’s works. Founded in 1998, the journal offers research articles, essays and book reviews by academicians and independent scholars, and is published annually during the autumn. Writers interested in being published in The Oxfordian should review our publication guidelines at the Shakespeare Oxford Fellowship website: https://shakespeareoxfordfellowship.org/the-oxfordian/ Our postal mailing address is: The Shakespeare Oxford Fellowship PO Box 66083 Auburndale, MA 02466 USA Queries may be directed to the editor, Gary Goldstein, at [email protected] Back issues of The Oxfordian may be obtained by writing to: [email protected] 2 The OXFORDIAN Volume 21 2019 The OXFORDIAN Volume 21 2019 Acknowledgements Editorial Board Justin Borrow Ramon Jiménez Don Rubin James Boyd Vanessa Lops Richard Waugaman Charles Boynton Robert Meyers Bryan Wildenthal Lucinda S. Foulke Christopher Pannell Wally Hurst Tom Regnier Editor: Gary Goldstein Proofreading: James Boyd, Charles Boynton, Vanessa Lops, Alex McNeil and Tom Regnier. Graphics Design & Image Production: Lucinda S. Foulke Permission Acknowledgements Illustrations used in this issue are in the public domain, unless otherwise noted. The article by Gary Goldstein was first published by the online journal Critical Stages (critical-stages.org) as part of a special issue on the Shakespeare authorship question in Winter 2018 (CS 18), edited by Don Rubin. It is reprinted in The Oxfordian with the permission of Critical Stages Journal. -
“A Poor Player That Struts and Frets His Hour Upon the Stage…”
“A POOR PLAYER THAT STRUTS AND FRETS HIS HOUR UPON THE STAGE…” THE ENGLISH THEATRE IN TRANSITION A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Arts Christin N. Gambill May, 2016 “A POOR PLAYER THAT STRUTS AND FRETS HIS HOUR UPON THE STAGE…” THE ENGLISH THEATRE IN TRANSITION Christin N. Gambill Thesis Approved: Accepted: _______________________________ _______________________________ Advisor Dean of the College Mr. James Slowiak Dr. John Green _______________________________ _______________________________ Faculty Reader Dean of the Graduate School Mr. Adel Migid Dr. Chand Midha _______________________________ _______________________________ Faculty Reader Date Dr. Hillary Nunn _______________________________ School Director Dr. J. Thomas Dukes ii TABLE OF CONTENTS Page CHAPTER I. “THIS ROYAL THRONE THIS SCEPTERED ISLE…” THE THEATRE OF THE ENGLISH RENAISSANCE ............................................................................................... 1 II. THE COMING STORM .............................................................................................. 14 III. THE AXE FALLS ...................................................................................................... 29 IV. UNDER THEIR NOSES ............................................................................................ 42 V. THE NEW ORDER ..................................................................................................... 53 VI. FUTURE CONSIDERATIONS -
Get PDF \\ the Oxford Shakespeare Othello the Moor of Venice The
JSZNVT4N0Y43 // PDF « The Oxford Shakespeare Othello The Moor of Venice The Oxford Shakespeare The Oxford Shakespeare Othello The Moor of Venice The Oxford Shakespeare Filesize: 8.89 MB Reviews This ebook will be worth acquiring. It is actually writter in basic phrases instead of hard to understand. It is extremely difficult to leave it before concluding, once you begin to read the book. (Trystan Yundt) DISCLAIMER | DMCA P0EK7VZVAEIT < Book # The Oxford Shakespeare Othello The Moor of Venice The Oxford Shakespeare THE OXFORD SHAKESPEARE OTHELLO THE MOOR OF VENICE THE OXFORD SHAKESPEARE Oxford University Press. Paperback. Book Condition: New. Paperback. 512 pages. Dimensions: 7.6in. x 5.1in. x 1.2in.Along with Hamlet, King Lear, and Macbeth, Othello is one of Shakespeares four great tragedies. What distinguishes Othello is its bold treatment of racial and gender themes. It is also the only tragedy to feature a main character, Iago, who truly seems evil, betraying and deceiving those that trust him purely for spite and with no political goal. This edition, the first to give full attention to these themes, includes an extensive introduction stresses the public dimensions of the tragedy, paying particular attention to its treatment of color and social relations. Designed to meet the needs of theatre professionals, the edition includes an extensive performance history, while on-page commentary and notes explain language, word play, and staging. Collated and edited from all existing printings, this entirely new edition uses modern day spelling to make readings smoother. Appendices are included which explain the dating problems many have found in the play, describe the music that has traditionally accompanied it, and provide a full translation of the Italian novella from which the story derives. -
Christopher Beeston and the Caroline Office of Theatrical •Ÿgovernor╎
Early Theatre 11.2 (2008) Christopher Matusiak Christopher Beeston and the Caroline Office of Theatrical ‘Governor’ The decision in February 1637 to appoint Christopher Beeston (alias Hut- chinson) ‘Gouuernor of the new Company of the Kings & Queenes boyes’ crowned one of the busiest and most innovative careers in seventeenth-cen- tury commercial theatre.1 Beeston had emerged in the 1590s as a young per- former in the Chamberlain’s Men, notably acting with Richard Burbage, Wil- liam Kempe, and William Shakespeare in the first production of Ben Jonson’s Every Man in His Humour. For the better part of the next two decades, he managed the financial affairs of Queen Anne’s Men at the Red Bull and with that company’s assets at his disposal, particularly its valuable wardrobe, he oversaw the building of west London’s first playhouse in 1616 — the Cock- pit (or Phoenix) in Drury Lane. By 1636, Beeston had established himself as London’s pre-eminent theatrical entrepreneur, having led Queen Henri- etta Maria’s fashionable company for ten years and amassed an unpreced- ented personal treasury of playbooks, acting apparel, and other tiring house materials. However, in May of that year the worst outbreak of plague in three decades closed the theatres and suppressed business until the following October 1637. Under the stress of eighteenth months of enforced idleness, acting companies buckled, setting patents and personnel adrift. Among the casualties was Beeston’s relationship with the Queen’s Men. From his van- tage point at the competing Salisbury -
The Private Theaters in Crisis: Strategies at Blackfriars and Paul’S, 1606–07
ABSTRACT Title of Document: THE PRIVATE THEATERS IN CRISIS: STRATEGIES AT BLACKFRIARS AND PAUL’S, 1606–07 Christopher Bryan Love, Ph.D., 2006 Directed By: Professor Theodore B. Leinwand, Department of English This study addresses the ways in which the managers and principal playwrights at second Paul’s and second Blackfriars approached opportunities in the tumultuous 1606–07 period, when the two troupes were affected by extended plague closures and threatened by the authorities because of the Blackfriars’ performance of offensive satires. I begin by demonstrating that Paul’s and Blackfriars did not neatly conform to the social and literary categories or commercial models typically employed by scholars. Instead, they were collaborative institutions that readily adapted to different circumstances and situations. Their small size, different schedules, and different economics gave them a flexibility generally unavailable to the larger, more thoroughly commercial adult companies. Each chapter explores a strategy used by the companies and their playwrights to negotiate a tumultuous theatrical market. The first chapter discusses the mercenary methods employed by the private children’s theaters. Occasionally, plays or play topics were commissioned by playgoers, and some performances at Paul’s and Blackfriars may even have been “private” in the sense of closed performances for exclusive audiences. In this context, I discuss Francis Beaumont’s The Knight of the Burning Pestle (Blackfriars, 1607), in which Beaumont uses the boorish citizens George and Nell to lay open the private theaters’ mercenary methods and emphasize sophisticated playgoers’ stake in the Blackfriars theater. The second chapter discusses the ways private-theater playwrights used intertextuality to entertain the better sort of playgoers, especially those who might buy quartos of plays. -
The Oxford Shakespeare Pdf Free Download
HENRY V: THE OXFORD SHAKESPEARE PDF, EPUB, EBOOK William Shakespeare,Gary Taylor | 352 pages | 01 Aug 2008 | Oxford University Press | 9780199536511 | English | Oxford, United Kingdom Henry V: The Oxford Shakespeare PDF Book The book uses t Academic Skip to main content. Thank you for shopping at our store. Overview The introduction includes an examination of the Quarto and texts, and of the relationship between them; a critical discussion of the play's historical and literary sources; an examination of conflicting critical attitudes to the play, and of its fluctuating theatrical fortunes; and a demonstration of the range and variety of Shakespeare's characterization. Tillyard supports the idea of the Tudor myth , which considers England's 15th century to be a dark time of lawlessness and warfare, that after many battles eventually led to a golden age of the Tudor Period. Oxford World's Classics Series. Description About the Author s Description Henry V , the climax of Shakespeare's sequence of English history plays, is an inspiring, often comic celebration of a young warrior- king. The French suffered 10, casualties; the English, fewer than Keywords: Shakespeare , Henry V , warfare , ordinances , Renaissance , war , medieval laws , nations. More Shakespeare's Henry V has traditionally been acclaimed for its impressive depiction of the psychological and political impact of warfare, and it remains one of the most widely-discussed plays in the canon. All Rights Reserved. The conductor was Sir Neville Marriner. If you have any queries, please contact us via ebay. Shakespeare Survey , volume 38, Cambridge University Press The Star Ledger. Shakespeare's Money Robert Bearman. -
Ancient Scotish Melodies from a Manuscript of the Reign of King
; /G> *7u Digitized by the Internet Archive in 2011 with funding from National Library of Scotland http://www.archive.org/details/ancientscotishme1838bann : ^/u) ho ANCIENT SCOTISH MELODIES, FROM A MANUSCRIPT OF THE REIGN OF KING JAMES VI. WITH AN INTRODUCTORY ENQUIRY ILLUSTRATIVE OF THE HISTORY OF THE MUSIC OF SCOTLAND. BY WILLIAM DAUNEY, ESQ. F.S.A. SCOT- EDINBURGH THE EDINBURGH PRINTING AND PUBLISHING COMPANY; SMITH, ELDER, & CO., CORNHILL, LONDON. M.DCCC. XXXVIII. EDINBURGH PRINT1NC COMPANY. TO THE PRESIDENTS AND MEMBERS OF THE iJannatgne antr j&aitlattti eiuftg, THIS WORK (UNDERTAKEN through their encouragement) IS MOST RESPECTFULLY INSCRIBED. — 7 CONTENTS. PRELIMINARY DISSERTATION. PAGE Introductory Remarks, ....... 1 Description of the Skene MS. and its Contents, .... 5 Enquiry into the probable date and history of tlie MS., ... 10 How far this is the earliest Collection of Scotish Airs which has been published Orpheus Caledonius—D'Urfey's Pills, . 15 Introduction of Scotish Music into England—Dr Blow—Dryden—Mary, Queen of William III.—Charles II Extract from " Shadwell's Scowrers," . 1 Scotish musical publications of the Seventeenth Century—Forbes's Cantus— City of Aberdeen—-Louis de France, pupil of M. Lambert— Revival of a taste for Music in Scotland—Forbes's Cantus contains the songs which were taught at the music schools, ..... • 20 History of the Music Schools in Scotland, ..... 24 Remarks on the Cantus, ....... 28 History of the " Godly and Spiritual Songs," " Compendium," and " Saint's Re- creation," ......... 30 The ancient Scotish Lyrical poetry and musical instruments, two collateral en- quiries necessary, in order to arrive at a just conception of the ancient Music of . -
'Shakespeare's Hamlet'?
View metadata, citation and similar papers at core.ac.uk brought to you by CORE 遠藤:What do you mean by‘Shakespeare’s Hamlet’? What do you mean by‘Shakespeare’s Hamlet’? Hanako Endo ‘What do you mean by ‘Shakespeare’s Hamlet’?’1 is a question Edwards asks himself in his in- troduction to Hamlet. The similar question, ‘what does Hamlet mean?’2, is raised in the edition of Hamlet by Thompson and Taylor. Edwards’ answer is that the ideal text of Hamlet ‘does not exist in either of the two main authoritative texts, the second quarto and the Folio, but somewhere between them’,3 whereas Thompson and Taylor do not specify their answer, offering the wider view beyond editing texts. They state as follows: The question is of course impossible to answer in the space of this Introduction: we can only give some pointers towards current debates and hope that readers will also find sug- gestions in the reminder of the Introduction and in the commentary as to how modern performers and critics are interpreting the play, questioning or reaffirming old readings and finding new ones.4 Although the view of Thompson and Taylor is rather ambiguous and does not provide the editorial answer, Edwards and Thompson and Taylor acknowledge that Hamlet is obviously one of the most difficult plays to edit. This essay will venture to find what the text is or what the text should be for modern readers in order to solve the above question. It will give some examples of the problems of editing Hamlet but will also make a general comment on editing. -
The Shakespeare Apocrypha and Canonical Expansion in the Marketplace
The Shakespeare Apocrypha and Canonical Expansion in the Marketplace Peter Kirwan 1 n March 2010, Brean Hammond’s new edition of Lewis Theobald’s Double Falsehood was added to the ongoing third series of the Arden Shakespeare, prompting a barrage of criticism in the academic press I 1 and the popular media. Responses to the play, which may or may not con- tain the “ghost”2 of Shakespeare and Fletcher’s Cardenio, have dealt with two issues: the question of whether Double Falsehood is or is not a forgery;3 and if the latter, the question of how much of it is by Shakespeare. This second question as a criterion for canonical inclusion is my starting point for this paper, as scholars and critics have struggled to define clearly the boundar- ies of, and qualifications for, canonicity. James Naughtie, in a BBC radio interview with Hammond to mark the edition’s launch, suggested that a new attribution would only be of interest if he had “a big hand, not just was one of the people helping to throw something together for a Friday night.”4 Naughtie’s comment points us toward an important, unqualified aspect of the canonical problem—how big does a contribution by Shakespeare need to be to qualify as “Shakespeare”? The act of inclusion in an editedComplete Works popularly enacts the “canonization” of a work, fixing an attribution in print and commodifying it within a saleable context. To a very real extent, “Shakespeare” is defined as what can be sold as Shakespearean. Yet while canonization operates at its most fundamental as a selection/exclusion binary, collaboration compli- cates the issue. -
A Sufficient Warrant
A Sufficient Warrant Censorship, Punishment, and Shakespeare in Early Modern England by Bonner Miller Cutting any laws were on the books in Tudor England to control the spoken and written word. These laws empowered the Elizabethan and later, the Jac- Mobean authorities to censor writing that was critical of government offi- cials and their policies. In her book Censorship and Interpretation, the eminent Annabel Patterson opened the door to academic discussion of the relationship of politics and art in early modern England, exploring the strategic approaches used by writers to circumvent the restrictions on freedom of expression (44-75). In Art Made Tongue-tied by Authority, Janet Clare provides more details on the harsh enforcement measures used in the late sixteenth and early seventeenth centuries to punish writers who went too far with politically sensitive commentary in plays, books, or pamphlets. However, the subject of censorship as it relates directly to the Shakespeare canon receives only peripheral attention from academics, a disinclination that is understandable in light of the questions that it raises in the Shakespeare authorship discussion. That the man from Stratford-upon-Avon went unnoticed by the Elizabethan govern- ment is a stark reality. Nowhere in the multitudinous biographies of this individual’s life is there anything to indicate that the authorities of state were aware of his exis- tence as a writer. So far as the record shows, he was never interviewed by the Privy Council or any legal enforcement entity. If any scholars or members of the London literati met him, corresponded with him, or even visited him during his affluent retirement in Stratford-upon-Avon, there is no mention of it (Price 302-305).