Overview

Full Product Details

Author:   Peter Holland
Publisher:   Cambridge University Press
Imprint:   Cambridge University Press
Dimensions:   Width: 18.70cm , Height: 2.40cm , Length: 24.60cm
Weight:   0.930kg
ISBN:  

9781009013635

ISBN 10:   1009013637
Pages:   485
Publication Date:   15 April 2021
Audience:   Professional and scholarly ,  Professional & Vocational
Format:   Paperback
Publisher's Status:   Active
Availability:   Manufactured on demand  
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Table of Contents

1. Sermons, plays and note-takers: Hamlet Q1 as a 'noted' text Tiffany Stern; 2. Equivocations: reading the Shakespeare/Middleton Macbeth Cordelia Zukerman; 3. The date of Sir Thomas More Hugh Craig; 4. Filming 'the weight of this sad time': Yasujiro Ozu's rereading of King Lear in Tokyo Story (1953) Reiko Oya; 5. Cursing to learn: theatricality and the creation of character in The Tempest David Schalkwyk; 6. Like an Olympian wrestling Richard Wilson; 7. 'Doing Shakespeare': how Shakespeare became a school 'subject' Janet Bottoms; 8. (Mis)advising Shakespeare's players Michael Cordner; 9. Making the work of play Michael Pavelka (in conversation with Carol Chillington Rutter); 10. 'On the wrong track to ourselves': Armin Senser's Shakespeare and the issue of artistic creativity in contemporary German poetry Tobias Döring; 11. 'What country, friends, is this?': Cultural identity and the World Shakespeare Festival Stephen Purcell; 12. Redefining knowledge: an epistemological shift in Shakespeare studies Péter Dávidházi; 13. Shakespeare as presentist John Drakakis; 14. Greater Shakespeare: working, playing and making with Shakespeare Hester Lees-Jeffries; 15. 'A joint and corporate voice': re-working Shakespearean seminars Scott L. Newstok; 16. Shakespeare and the cultures of translation Ton Hoenselaars; 17. Shakespeare's inhumanity Kiernan Ryan; 18. Making something out of 'nothing' in Shakespeare R. S. White; 19. 'A book where one may read strange matters': en-visaging character and emotion on the Shakespearean stage Michael Neill; 20. 'Hear the ambassadors!': Marking Shakespeare's Venice connection Carol Chillington Rutter; 21. 'O, what a sympathy of woe is this': passionate sympathy in Titus Andronicus Richard Meek; 22. Who drew the Jew that Shakespeare knew?: Misericords and medieval Jews in The Merchant Of Venice M. Lindsay Kaplan; 23. 'Imaginary puissance': Shakespearean theatre and the law of agency in Henry V, Twelfth Night and Measure For Measure Erica Sheen; 24. Hamlet and empiricism James Hirsh; 25. 'Let me see what thou hast writ': mapping the Shakespeare–Fletcher working relationship in The Two Noble Kinsmen at the Swan Varsha Panjwani; 26. Shakespeare performances in England (and Wales) 2012 Carol Chillington Rutter; 27. Professional Shakespeare productions in the British Isles, January-December 2011 James Shaw; 28. The year's contribution to Shakespeare studies: 1. Critical studies reviewed by Charlotte Scott; 2. Shakespeare in performance reviewed by Russell Jackson; 3. Editions and textual studies reviewed by Sonia Massai.

Reviews

'Tiffany Stern's essay, 'Sermons, Plays and Note-Takers: Hamlet Q1 as a 'Noted' Text', reads like an especially well-written and deftly plotted mystery novel. Taking as her subject the so-called 'bad quarto' of Hamlet, Stern leads the reader through a thoroughly documented and totally compelling rethinking of Q1's origins. [She] persuasively argues that this text is the product of a note-taking scribal audience who employed contemporary notational habits to produce a 'pirated' text for publication ... [She] brings to life a new world of early modern performance through descriptions and details that offer many small openings onto the textual culture of the period ... this essay not only offers a significant reassessment of Hamlet Q1, but also makes a claim for the cultural importance of note-taking practices in the early modern period more generally.' Medieval and Renaissance Drama Society

'Tiffany Stern's essay, 'Sermons, Plays and Note-Takers: Hamlet Q1 as a 'Noted' Text', reads like an especially well-written and deftly plotted mystery novel. Taking as her subject the so-called 'bad quarto' of Hamlet, Stern leads the reader through a thoroughly documented and totally compelling rethinking of Q1's origins. [She] persuasively argues that this text is the product of a note-taking scribal audience who employed contemporary notational habits to produce a 'pirated' text for publication … [She] brings to life a new world of early modern performance through descriptions and details that offer many small openings onto the textual culture of the period … this essay not only offers a significant reassessment of Hamlet Q1, but also makes a claim for the cultural importance of note-taking practices in the early modern period more generally.' Medieval and Renaissance Drama Society

Author Information

Peter Holland is McMeel Family Professor in Shakespeare Studies and Department Chair, Department of Film, Television and Theater at the University of Notre Dame.

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