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New Perspectives on Tudor Cultures
This volume presents a selection of papers from the 6th International Conference of the Tudor Symposium, held at the University of Sheffield in 2009. It brings together new explorations of Tudor literature from scholars based all over Europe: France, Greece, Hungary, Ireland, Norway, and the United Kingdom. The papers cover the long mid-Tudor period, from Skelton and more to the young Shakespeare, but with a central emphasis on the middle decades of the sixteenth century. Topics range widely from philosophy and social commentary to more traditionally literary kinds of writing, such as lyric and tragedy (both dramatic and non-dramatic). The volume as a whole offers an attractively kaleidoscopic image of the variety of new work being carried out in the area in the new millennium.
Does It Really Mean That? Interpreting the Literary Ambiguous
However disconnected the essays in the volume might appear to be at first glance, the unifying factor is the very notion of ambiguity—which is one of the essential features of the postmodern age: how it can be defined as opposed to what it means or is, where it can be found, to what purposes it can be put, including questions of whether it is a positive or negative factor. But this, of course, is not a new phenomenon. Writers have always depended on equivocation, multiplicity of meaning, uncertainty of meaning—deliberate mystification one might say. Language itself is the base of ambiguity not only in literature but in everyday public discourse. Thus the papers in the volume should appeal not only to scholars working in the fields of modern or postmodern literature, but those who see the importance of ambiguity in the earlier texts, and perhaps their influences in later writing. Finally the essays included here not only provide specific analyses and proposed solutions for specific works or authors they also open the reader to other appearances of ambiguity, often not simply in literature or critical theory, but in the kinds of social issues the literary works deals with.
Dancing Shakespeare
Dancing Shakespeare is the first history of ballets based on William Shakespeare’s works from the birth of the dramatic story ballet in the eighteenth century to the present. It focuses on two main questions: "How can Shakespeare be danced?" and "How can dance shed new light on Shakespeare?" The book explores how librettists and choreographers have transposed Shakespeare’s complex storylines, multifaceted protagonists, rhetoric and humour into non-verbal means of expression, often going beyond the texts in order to comment on them or use them as raw material for their own creative purposes. One aim of the monograph is to demonstrate that the study of wordless performances allows us to ga...
Ira Aldridge
This book describes the "glory years" of Ira Aldridge's first Continental tour, during which he won more awards and honors, often conferred by royalty, than any other actor of his day. Ira Aldridge: Performing Shakespeare in Europe, 1852-1855, the third volume of Bernth Lindfors's award-winning biography, traces the American-born black classical actor's itinerary on his first Continental tour. Starting inBrussels and following Aldridge up the Rhine to Basel, on to Berlin and Vienna, and cities in Prussia and Hungary, Lindfors recounts the major performances and analyzes audience responses to them. Because European audiences wanted to see this "African" actor in Shakespearean roles rather tha...
Theatre Theory Reader: Prague School Writings
This is precisely the book I have been looking out for ever since working at my Das Drama. Theorie und Analyse (1977; The Theory and Analysis of Drama, 1988), and discovering from a few specimens the incisive usefulness and importance of Prague School theatre semiotics. There is everything one could possibly wish for in this monumental Theatre Theory Reader: Prague School Writings: all the by now canonical texts and many others presented for the first time in English, arranged in a systematic order which fully renders the sense of the scope and development of Czech theatre semiotics, and all of them in highly competent translations aware of the terminological complexities at stake and suppor...
Othello in European Culture
This volume argues that a focus on the European reception of Othello represents an important contribution to critical work on the play. The chapters in this volume examine non-anglophone translations and performances, alternative ways of distinguishing between texts, adaptations and versions, as well as differing perspectives on questions of gender and race. Additionally, a European perspective raises key political questions about power and representation in terms of who speaks for and about Othello, within a European context profoundly divided over questions of immigration, religious, ethnic, gender and sexual difference. The volume illustrates the ways in which Othello has been not only a stimulus but also a challenge for European Shakespeares. It makes clear that the history of the play is inseparable from histories of race, religion and gender and that many engagements with the play have reinforced rather than challenged the social and political prejudices of the period.
Queering W. B. Yeats and Gabriele D’Annunzio
Queering W. B. Yeats and Gabriele D’Annunzio: Modernist Playwrights challenges the general resistance in scholarship and queer studies to approach Yeats and D’Annunzio through a queer lens because of their controversial affiliations with fascism and elitism, their heterosexuality and their venerated canonical status. This book provides the first fully theorised queer and comparative reading of Yeats’s and D’Annunzio’s drama. It offers the novel contention that due to their increasing involvement in queer and feminist subcultures, their plays feature feelings that are associated with queer historiography and generate ideas that began to be theorised by queer studies more than half a century after the composition of the plays. Moreover, it uncovers an alert, subversive and often coded social commentary in eight key dramatic texts by each playwright and at the same time highlights the thus far neglected commonalities between the plays and the queer historical as well as cultural contexts of these two prominent modernists.
The Anatomy of Tudor Literature
This title was first published in 2001. Is there such a thing as "Tudor literature"? The question is the theme that binds the essays in this collection. Scholars from around the world address the question of whether there is a sense of continuity in the literature of the Tudor century. The volume begins by looking at early Tudor writers, such as Thomas More, and then moves on to look at Elizabethan poetry and prose, ending by covering the late Tudor dramas, and Shakespeare.
The Globalization of Shakespeare in the Nineteenth Century
"These essays show how Shakespeare as a cultural commodity was imported, appropriated, and exploited in countries around the world in the 19th century. Essays are grouped by the type of appropriation they emphasize: translations and adaptations, performances and theater, scholarship and criticism, or inspirations for visual arts and creative writing."
Shakespeare and Costume in Practice
What is the role of costume in Shakespeare production? Shakespeare and Costume in Practice argues that costume design choices are central not only to the creation of period setting and the actor’s work on character, but to the cultural, political, and psychological meanings that the theatre makes of Shakespeare. The book explores questions about what the first Hamlet looked like in his mourning cloak; how costumes for a Shakespeare comedy can reflect or critique the collective nostalgias a culture has for its past; how costume and casting work together to ask new questions about Shakespeare and race. Using production case studies of Hamlet, Much Ado About Nothing, and The Tempest, the book demonstrates that costume design can be a site of experimentation, playfulness, and transgression in the theatre – and that it can provoke audiences to think again about what power, race, and gender look like on the Shakespearean stage.
