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THE WAYS OF THE WORD
The Ways of the Word es un libro de apoyo a la enseñanza y aprendizaje del comentario de textos en inglés para estudiantes universitarios. En la primera parte se exponen los procedimientos de lectura y comprensión textual. La segunda y tercera se centran en técnicas de análisis lingüístico y de discurso, respectivamente, organizadas de modo que cada nivel sirva de apoyo en la progresión hacia el siguiente. Se ofrece así un extenso sistema de recursos para el análisis de todo tipo de textos literarios en inglés.
THE FEMALE WITS
The Female Wits: Women and Gender in Restoration Literature and Culture reúne trabajos sobre varias escritoras inglesas del siglo XVII. Algunas son bien conocidas hoy en día, como Margaret Cavendish y Aphra Behn, mientras que para otras su reconocimiento académico aún está por llegar (Mary Pix, Catharine Trotter, Elizabeth Singer Rowe, etc.). Los ensayos atienden tanto a la forma en que ellas contribuyeron a la transformación de los géneros literarios al uso en su época como a la relación que establecieron con sus coetáneos masculinos.
The Reformation
The Reformation (1673), attributed to Joseph Arrowsmith, is an amusing satire on the libertine manners of the Stuart court. A group of young men in Venice set up a society to reform sexual mores “à la mode d’Angleterre” and liberate women from the tyranny of fathers and husbands. Described by a contemporary critic as “the Reverse to the Laws of Morality and Virtue”, the play was quickly withdrawn from the stage. The comedy also offers a burlesque portrait of Poet Laureate John Dryden, poking fun at his critical opinions and dramatic production. This is the firts critical edition of the play. The editors place it in its social and cultural context and present a fully annotated text, which enables today’s reader to enjoy and understand Arrowsmith’s lively picture of Restoration life.
The Ways of the Word
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Theatre and Culture in Early Modern England, 1650-1737
Framed by the publication of Leviathan and the 1713 Licensing Act, this collection provides analysis of both canonical and non-canonical texts within the scope of an eighty-year period of theatre history, allowing for definition and assessment that uncouples Restoration drama from eighteenth-century drama. Individual essays demonstrate the significant contrasts between the theatre of different decades and the context of performance, paying special attention to the literary innovation and socio-political changes that contributed to the evolution of drama. Exploring the developments in both tragedy and comedy, and in literary production, specific topics include the playwright's relationship to...
John Banks’s Female Tragic Heroes
In John Banks’s Female Tragic Heroes, Paula de Pando offers the first monograph on Restoration playwright John Banks. De Pando analyses Banks’s civic model of she-tragedy in terms of its successful adaptation of early modern literary traditions and its engagement with contemporary political and cultural debates. Using Tudor queens as tragic heroes and specifically addressing female audiences, patrons and critics, Banks made women rather than men the subject of tragedy, revolutionising drama and influencing depictions of gender, politics, and history in the long eighteenth century.
The Woman Turned Bully
Often attributed to Aphra Behn, The Woman Turned Bully presents the London adventures of a young girl who flees her home in the country, disguised as a man, to escape an arranged marriage. As she seeks inspiration in the theatre to personate the gallant, the play offers an amusing satire of the extravagances of the rake-hero of Restoration comedy. A remarkable gallery of secondary characters includes a ridiculous old lawyer and his clerk, a strong-willed country widow who drinks and smokes tobacco, and an amorous old maid. Its well-structured plot, lively dialogues and comic situations recommend it as an entertaining play for today's readers and prospective audiences. .This is the first edition of the play since its original publication in 1675. The editors offer a modernised text, with abundant critical notes and an introduction which places it in its literary and theatrical context.
Anthony Munday
Munday's translation is based on a Spanish original entitled Primaleon de Grecia I (Salamanca, 1512). This Spanish romance, the second book in the Palmerin cycle, soon became a best-seller in the Spanish market, with several editions published between 1512 and 1588. The work was also translated into many continental languages. Anthony Munday translated his Palmendos from the French version by Francois de Vernassal late in 1588. The Historie of Palmendos comprised the first thirty-two chapters of the French text and focused on the adventures of Palmendos on his journey to Constantinople. It was reprinted in 1653 and 1663 with slight alterations from the 1589 version. This is an original-spelling edition that produces a most reliable text, as close as possible to the author's original manuscript.
Mark Akenside
This is the first book of Akenside criticism to be published since C. T. Houpt's biographical and critical study, which initially appeared in 1944. This important collection of essays examines the full range of Akenside's poetical output, from his earliest published work to the later odes and posthumous published poems.
Stuart Women Playwrights, 1613–1713
In the field of seventeenth-century English drama, women participated not only as spectators or readers, but more and more as patronesses, as playwrights, and later on as actresses and even as managers. This study examines English women writers' tragedies and tragicomedies in the seventeenth century, specifically between 1613 and 1713, which represent the publication dates of the first original tragedy (Elizabeth Cary's The Tragedy of Mariam) and the last one (Anne Finch's Aristomenes) written by a Stuart woman playwright. Through this one-hundred year period, major changes in dramatic form and ideology are traced in women's tragedies and tragicomedies. In examining the whole of the century from a gender perspective, this project breaks away from conventional approaches to the subject, which tend to establish an unbridgeable gap between the early Stuart period and the Restoration. All in all, this study represents a major overhaul of current theories of the evolution of English drama as well as offering an unprecedented reconstruction of the genealogy of seventeenth-century English women playwrights.
