How To Do Things With Shakespeare

Most Companion volumes for undergraduates contain an essay on Shakespeare's text. They explain the difference between the individual quarto volumes of plays published in Shakespeare's lifetime (and after) and the handsome Folio volume ...

Author: Laurie Maguire

Publisher: John Wiley & Sons

ISBN: 9780470693308

Category: Literary Criticism

Page: 320

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This collection of 12 essays uses the works of Shakespeare to show how experts in their field formulate critical positions. A helpful guidebook for anyone trying to think of a new approach to Shakespeare Twelve experts take new critical positions in their field of study using the writings and analysis of Shakespeare, to show how writers (students and academics) find topics and develop their ideas Features autobiographical prefaces that explain how the experts chose their topics and why the editor commissioned these particular essays, topics, and authors Argues that literary research is a reaction to experiences, thoughts or feelings Essays are arranged in small dialogues of two or three, forming a debate Teaches students to respond individually to cultural positions

Selling Shakespeare

Stern, Tiffany, “Watching as Reading: The Audience and Written Text in Shakespeare's Playhouse,” in Laurie Maguire, ed., How to Do Things with Shakespeare (Malden, MA, and Oxford: Blackwell Publishing, 2008), 136–59.

Author: Adam G. Hooks

Publisher: Cambridge University Press

ISBN: 9781316495568

Category: Literary Criticism

Page:

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Selling Shakespeare tells a story of Shakespeare's life and career in print, a story centered on the people who created, bought, and sold books in the early modern period. The interests and investments of publishers and booksellers have defined our ideas of what is 'Shakespearean', and attending to their interests demonstrates how one version of Shakespearean authorship surpassed the rest. In this book, Adam G. Hooks identifies and examines four pivotal episodes in Shakespeare's life in print: the debut of his narrative poems, the appearance of a series of best-selling plays, the publication of collected editions of his works, and the cataloguing of those works. Hooks also offers a new kind of biographical investigation and historicist criticism, one based not on external life documents, nor on the texts of Shakespeare's works, but on the books that were printed, published, sold, circulated, collected, and catalogued under his name.

Shakespeare the Bible and the Form of the Book

13.) On the relationship between misquotation and poetic style in Shake- speare's plays, see Julie Maxwell, “How the Renaissance (Mis)Used Sources: The Art of Misquotation,” in Laurie Maguire (ed.) How to do Things with Shakespeare: New ...

Author: Travis DeCook

Publisher: Routledge

ISBN: 9781136662768

Category: Drama

Page: 216

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Why do Shakespeare and the English Bible seem to have an inherent relationship with each other? How have these two monumental traditions in the history of the book functioned as mutually reinforcing sources of cultural authority? How do material books and related reading practices serve as specific sites of intersection between these two textual traditions? This collection makes a significant intervention in our understanding of Shakespeare, the Bible, and the role of textual materiality in the construction of cultural authority. Departing from conventional source study, it questions the often naturalized links between the Shakespearean and biblical corpora, examining instead the historically contingent ways these links have been forged. The volume brings together leading scholars in Shakespeare, book history, and the Bible as literature, whose essays converge on the question of Scripture as source versus Scripture as process—whether that scripture is biblical or Shakespearean—and in turn explore themes such as cultural authority, pedagogy, secularism, textual scholarship, and the materiality of texts. Covering an historical span from Shakespeare’s post-Reformation era to present-day Northern Ireland, the volume uncovers how Shakespeare and the Bible’s intertwined histories illuminate the enduring tensions between materiality and transcendence in the history of the book.

Shakespeare s Folktale Sources

In Staging Early Modern Romance: Prose Fiction, Dramatic Romance, and Shakespeare, Mary Ellen Lamb and Valerie Wayne, eds., 21–46. ... In How to Do Things with Shakespeare: New Approaches, New Essays, Laurie Maguire, ed., 34–53.

Author: Charlotte Artese

Publisher: Rutgers University Press

ISBN: 9781644530443

Category: Literary Criticism

Page: 259

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Shakespeare’s Folktale Sources argues that seven plays—The Taming of the Shrew, Titus Andronicus, The Merry Wives of Windsor, The Merchant of Venice, All’s Well that Ends Well, Measure for Measure, and Cymbeline—derive one or more of their plots directly from folktales. In most cases, scholars have accepted one literary version of the folktale as a source. Recognizing that the same story has circulated orally and occurs in other medieval and early modern written versions allows for new readings of the plays. By acknowledging that a play’s source story circulated in multiple forms, we can see how the playwright was engaging his audience on common ground, retelling a story that may have been familiar to many of them, even the illiterate. We can also view the folktale play as a Shakespearean genre, defined by source as the chronicle histories are, that spans and traces the course of Shakespeare’s career. The fact that Shakespeare reworked folktales so frequently also changes the way we see the history of the literary folk- or fairy-tale, which is usually thought to bypass England and move from Italian novella collections to eighteenth-century French salons. Each chapter concludes with a bibliography listing versions of each folktale source as a resource for further research and teaching. Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.

Shakespeare s Early Readers

10 Tiffany Stern, 'Watching as Reading: The Audience and Written Text in Shakespeare's Playhouse', in How to Do Things with Shakespeare: New Approaches, New Essays, ed. Laurie Maguire (Malden, MA and Oxford: Blackwell Publishing, 2008), ...

Author: Jean-Christophe Mayer

Publisher: Cambridge University Press

ISBN: 9781108651165

Category: Literary Criticism

Page:

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Who were Shakespeare's first readers and what did they think of his works? Offering the first dedicated account of the ways in which Shakespeare's texts were read in the centuries during which they were originally produced, Jean-Christophe Mayer reconsiders the role of readers in the history of Shakespeare's rise to fame and in the history of canon formation. Addressing an essential formative 'moment' when Shakespeare became a literary dramatist, this book explores six crucial fields: literacy; reading and life-writing; editing Shakespeare's text; marking Shakespeare for the theatre; commonplacing; and passing judgement. Through close examination of rare material, some of which has never been published before, and covering both the marks left by readers in their books and early manuscript extracts of Shakespeare, Mayer demonstrates how the worlds of print and performance overlapped at a time when Shakespeare offered a communal text, the ownership of which was essentially undecided.

Shakespeare and Space

“Watching as Reading: The Audience and Written Text in Shakespeare's Playhouse”. In How to Do Things with Shakespeare, edited by L. Maguire. Oxford: Blackwell. Tudeau-Clayton, M. 2000. “Stepping out of Narrative Line: A Bit of Word, ...

Author: Ina Habermann

Publisher: Springer

ISBN: 9781137518354

Category: Literary Criticism

Page: 282

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This collection offers an overview of the ways in which space has become relevant to the study of Shakespearean drama and theatre. It distinguishes various facets of space, such as structural aspects of dramatic composition, performance space and the evocation of place, linguistic, social and gendered spaces, early modern geographies, and the impact of theatrical mobility on cultural exchange and the material world. These facets of space are exemplified in individual essays. Throughout, the Shakespearean stage is conceived as a topological ‘node’, or interface between different times, places and people – an approach which also invokes Edward Soja’s notion of ‘Thirdspace’ to describe the blend between the real and the imaginary characteristic of Shakespeare’s multifaceted theatrical world. Part Two of the volume emphasises the theatrical mobility of Hamlet – conceptually from an anthropological perspective, and historically in the tragedy’s migrations to Germany, Russia and North America.

Women and Shakespeare s Cuckoldry Plays

How to Do Things with Shakespeare: New Approaches, New Essays. Ed. Laurie Maguire. Malden, MA: Blackwell, 2008. 34–53. Print. Prescott, Anne Lake, and Betty Travitsky, eds. Female and Male Voices in Early Modern England: An Anthology of ...

Author: Cristina León Alfar

Publisher: Taylor & Francis

ISBN: 9781134773381

Category: Literary Criticism

Page: 244

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How does a woman become a whore? What are the discursive dynamics making a woman a whore? And, more importantly, what are the discursive mechanics of unmaking? In Women and Shakespeare’s Cuckoldry Plays: Shifting Narratives of Marital Betrayal, Cristina León Alfar pursues these questions to tease out familiar cultural stories about female sexuality that recur in the form of a slander narrative throughout William Shakespeare’s work. She argues that the plays stage a structure of accusation and defense that unravels the authority of husbands to make and unmake wives. While men’s accusations are built on a foundation of political, religious, legal, and domestic discourses about men’s superiority to, and rule over, women, whose weaker natures render them perpetually suspect, women’s bonds with other women animate defenses of virtue and obedience, fidelity and love, work loose the fabric of patrilineal power that undergirds masculine privileges in marriage, and signify a discursive shift that constitutes the site of agency within a system of oppression that ought to prohibit such agency. That women’s agency in the early modern period must be tied to the formations of power that officially demand their subjection need not undermine their acts. In what Alfar calls Shakespeare’s cuckoldry plays, women’s rhetoric of defense is both subject to the discourse of sexual honor and finds a ground on which to “shift it” as women take control of and replace sexual slander with their own narratives of marital betrayal.

Shakespeare and the Visual Imagination

Gillian Woods, 'Catholicism and Conversion in Love's Labour's Lost', How to Do Things with Shakespeare, ed. Laurie Maguire (Oxford: Blackwell, 2008), 101–30 and subsequently, in extended form, in Shakespeare's Unreformed Fictions ...

Author: Stuart Sillars

Publisher: Cambridge University Press

ISBN: 9781107029958

Category: Art

Page: 337

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A fully illustrated study of Shakespeare's awareness of traditions in visual art and their presence in his plays and poems.

The Oxford Handbook of Shakespeare s Poetry

Clark, David L (1992) 'How To Do Things with Shakespeare: Illustrative Theory and Practice in Blake's Pity', in The Mind in Creation: Essays on English Romantic Literature in Honour of Ross G. Woodman, J. Douglas Kneale (ed.) ...

Author: Jonathan Post

Publisher: OUP Oxford

ISBN: 9780191665066

Category: Literary Criticism

Page: 784

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The Oxford Handbook of Shakespeare's Poetry contains thirty-eight original essays written by leading Shakespeareans around the world. Collectively, these essays seek to return readers to a revivified understanding of Shakespeare's verbal artistry in both the poems and the drama. The volume understands poetry to be not just a formal category designating a particular literary genre but to be inclusive of the dramatic verse as well, and of Shakespeare's influence as a poet on later generations of writers in English and beyond. Focusing on a broad set of interpretive concerns, the volume tackles general matters of Shakespeare's style, earlier and later; questions of influence from classical, continental, and native sources; the importance of words, line, and rhyme to meaning; the significance of songs and ballads in the drama; the place of gender in the verse, including the relationship of Shakespeare's poetry to the visual arts; the different values attached to speaking 'Shakespeare' in the theatre; and the adaptation of Shakespearean verse (as distinct from performance) into other periods and languages. The largest section, with ten essays, is devoted to the poems themselves: the Sonnets, plus 'A Lover's Complaint', the narrative poems, Venus and Adonis and The Rape of Lucrece, and 'The Phoenix and the Turtle'. If the volume as a whole urges a renewed involvement in the complex matter of Shakespeare's poetry, it does so, as the individual essays testify, by way of responding to critical trends and discoveries made during the last three decades.

30 Great Myths about Shakespeare

Cited in Richard Scholar, ''French Connections: The Je-Ne-Sais-Quoi in Montaigne and Shakespeare,'' in Laurie Maguire (ed.), How To Do Things with Shakespeare (Oxford: Wiley-Blackwell, 2008), pp. 11–33 (p. 14).

Author: Laurie Maguire

Publisher: John Wiley & Sons

ISBN: 9781118324875

Category: Literary Criticism

Page: 224

View: 429

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Think you know Shakespeare? Think again . . . Was a real skull used in the first performance of Hamlet? Were Shakespeare's plays Elizabethan blockbusters? How much do we really know about the playwright's life? And what of his notorious relationship with his wife? Exploring and exploding 30 popular myths about the great playwright, this illuminating new book evaluates all the evidence to show how historical material—or its absence—can be interpreted and misinterpreted, and what this reveals about our own personal investment in the stories we tell.