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A beloved literary artefact, presented for the first time as the author intended.
This collection of original essays brings international and multidisciplinary perspectives to the problem of how to understand and practice editorial mediation: How does editing alter what it seeks to represent? How does it condition the relationship between texts and readers? The different concerns shared by editors of a variety of genres, literary and otherwise, emerge here as constructive new approaches to the theory and practice of editing are explored. The essays make a concerted attempt to assess the implications of postmodern thought on one of the oldest and most fundamental cultural activities, editing The section on theory covers such important subjects as editorial responsibility, the death of the author, and the nature of the authorial voice. The practice section covers actual editing situations in various literary areas and in musicology, recorded music, and the preservation of oral literature. The multidisciplinary volume will find its readers among students of textual criticism, literature, music, and folklore as well as any readers of postmodern criticism.
James Shirley was the last great dramatist of the English Renaissance, shining out among other luminaries such as John Ford, Ben Jonson, or Richard Brome. This collection considers Shirley within the culture of his time, and highlights his contribution to seventeenth-century English literature as poet and playwright. Individual essays explore Shirley’s musical theatre and spoken verse, performance conditions, female agency and politics, and the presentation of his work in manuscript and print. Collectively, the essays assemble a larger picture of Caroline drama, showing it to be more than simply a nostalgic endgame, its poets daintily sipping hemlock on the eve of the Civil Wars. Shirley’s literary versatility and long life, spanning the last days of Queen Elizabeth I to the ascension of Charles II, make him an ideal writer through whom to examine the distinctive qualities of Caroline theatre.
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The first multi-disciplinary collection of essays to focus exclusively on early Canadian literature with the aim of reassessing the field and proposing new approaches.
Just what makes a locale one of the world's most mysterious places is a subject open to debate. But if Bigfoot, UFOs, and chain-rattling ghosts all appear in one particular location, time and again, along with a fantastic range of other bizarre phenomena, then this is highly suggestive that the place is truly weird and mysterious in the extreme. Readers will learn startling truths of these amazing, paranormal locations and uncanny hot spots. Included are eerie haunts scattered across the United States, Russia, Canada, and just about everywhere in between, including such infamous locales as Death Valley, the Bermuda Triangle, Loch Ness, and even the New York City subway. Also addressed are the various theories that have been posited to explain why such places have become so infinitely weird in the first place. This is a wild tour of the world and its many rich cultures and folklore that reveals the top twenty-five places on Earth that are...well...incredibly weird and mysterious.
Character and the Individual Personality in English Renaissance Drama: Tragedy, History, Tragicomedy studies instantiations of the individualistic character in drama, Shakespearean and non-Shakespearean, and some of the Renaissance ideas allowing for and informing them. Setting aside such fraught questions as the history of Renaissance subjectivity and individualism on the one hand and Shakespearean exceptionalism on the other, we can find that in some plays, by a range of different authors and collaborators, a conception has been evidenced of who a particular person is, and has been used to drive the action. This evidence can take into account a number of internal and external factors that ...