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Shakespeare Only
Three decades of controversy in Shakespeare studies can be summed up in a single question: Was Shakespeare one of a kind? On one side of the debate are the Shakespeare lovers, the bardolatrists, who insist on Shakespeare’s timeless preeminence as an author. On the other side are the theater historians who view modern claims of Shakespeare’s uniqueness as a distortion of his real professional life. In Shakespeare Only, Knapp draws on an extraordinary array of historical evidence to reconstruct Shakespeare’s authorial identity as Shakespeare and his contemporaries actually understood it. He argues that Shakespeare tried to adapt his own singular talent and ambition to the collaborative enterprise of drama by imagining himself as uniquely embodying the diverse, fractious energies of the popular theater. Rewriting our current histories of authorship as well as Renaissance drama, Shakespeare Only recaptures a sense of the creative force that mass entertainment exerted on Shakespeare and that Shakespeare exerted on mass entertainment.
An Empire Nowhere
What caused England's literary renaissance? One answer has been such unprecedented developments as the European discovery of America. Yet England in the sixteenth century was far from an expanding nation. Not only did the Tudors lose England's sole remaining possessions on the Continent and, thanks to the Reformation, grow spiritually divided from the Continent as well, but every one of their attempts to colonize the New World actually failed. Jeffrey Knapp accounts for this strange combination of literary expansion and national isolation by showing how the English made a virtue of their increasing insularity. Ranging across a wide array of literary and extraliterary sources, Knapp argues th...
Cultural Aesthetics
A brilliant postmodern critique of Renaissance subjectivity, Cultural Aesthetics explores the simultaneous formation and fragmentation of aristocratic "selfhood" in the late sixteenth and early seventeenth centuries. Patricia Fumerton situates the self within its sumptuous array of "trivial" arts—including the court literatures of chivalric romance, sonnet, and masque and the arts of architecture, miniature painting, stage design, and cuisine. Her integration of historicist and aesthetic perspectives makes this a provocative contribution to the vigorous field of Renaissance cultural studies.
I'm the One with the Blue Cap On
If a central question in literary biography is how to separate the poetry from the life of the poet, then the case of Jeffrey Knapp proves the impossibility of the task. For the playful-but-serious exuberance of his writing seems indivisible from the serious-but-playful exuberance of the life Jeffrey led as a champion of art and culture, of teaching and parenting, of eating and drinking and laughing and crying. "It's a wonderful experience, joining the atmosphere," he writes, in the poem "The Acupuncture of Heaven," a cry of cosmic solidarity that presumes the membrane between the self and the world to be as permeable as the boundary between art and life. We can only hope that Jeffrey is right about that, and that when our time comes we find him waiting for us with a new poem a glass of wine. In the meantime, reading this collection is itself a wonderful experience, and a reminder of the remarkable talent, charm, intelligence, wit and boundless energy of Jeffrey Knapp. -Campbell McGrath
Sprint
A NEW YORK TIMES and WALL STREET JOURNAL bestseller 'A must read for entrepreneurs of all stripes' - Eric Ries, author of The Lean Startup From three partners at Google Ventures, a unique five-day process for solving tough business problems, proven at more than 100 companies. What’s the most important place to focus your effort? How many meetings and discussions does it take before you can be sure you have the right solution? What will your idea look like in real life? How do you start? Now there’s a surefire way to answer these important questions: the sprint. Designer Jake Knapp created the five-day process at Google, where sprints were used on everything from Google Search to Google X. He joined Braden Kowitz and John Zeratsky at Google Ventures, and together they have completed more than one hundred sprints with companies in mobile, e-commerce, healthcare, finance, and more. A practical guide to answering critical business questions, Sprint is a book for teams of any size, from small startups to Fortune 100s, from teachers to nonprofits. It’s for anyone with a big opportunity, problem, or idea who needs to get answers today.
Pleasing Everyone
Shakespeare's plays were immensely popular in their own day -- so why do we refuse to think of them as mass entertainment? In Pleasing Everyone, author Jeffrey Knapp opens our eyes to the uncanny resemblance between Renaissance drama and the incontrovertibly mass medium of Golden-Age Hollywood cinema. Through fascinating explorations of such famous plays as Hamlet, The Roaring Girl, and The Alchemist, and such celebrated films as Citizen Kane, The Jazz Singer, and City Lights, Knapp challenges some of our most basic assumptions about the relationship between art and mass audiences. Above all, Knapp encourages us to resist the prejudice that mass entertainment necessarily simplifies and cheapens whatever it touches. As Knapp shows, it was instead the ceaseless pressure to please everyone that helped generate the astonishing richness and complexity of Renaissance drama as well as of Hollywood film.
Shakespeare Studies
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Shakespeare's Tribe
Most contemporary critics characterize Shakespeare and his tribe of fellow playwrights and players as resolutely secular, interested in religion only as a matter of politics or as a rival source of popular entertainment. Yet as Jeffrey Knapp demonstrates in this radical new reading, a surprising number of writers throughout the English Renaissance, including Shakespeare himself, represented plays as supporting the cause of true religion. To be sure, Renaissance playwrights rarely sermonized in their plays, which seemed preoccupied with sex, violence, and crime. During a time when acting was regarded as a kind of vice, many theater professionals used their apparent godlessness to advantage, c...
Shakespeare's Stage Traffic
Contesting the notion of Shakespeare as originator, Clare demonstrates how Shakespeare adapted, imitated and borrowed from the work of others.
The Business of English Restoration Theatre, 1660–1700
Deborah C. Payne explores how the duopoly of 1660 impacted company practices, stagecraft, the box office, and actors and writers.
