Book contents
- Shakespeare Survey68Shakespeare, Origins and Originality
- Advisory Board
- Shakespeare Survey
- Copyright page
- Editor’s Note
- Contributors
- Contents
- Illustrations
- Shakespeare's anecdotal character
- What is a source? Or, how Shakespeare read his Marlowe
- Imitation or collaboration? Marlowe and the early Shakespeare canon
- ‘O Jephthah, judge of Israel’: from original to accreted meanings in Hamlet's allusion
- The elephants’ graveyard revisited: Shakespeare at work inAntony and Cleopatra,Romeo and JulietandAll's Well That Ends Well
- ‘Every like is not the same’: translating Shakespeare in Spanish today
- Reading Originals by the Light of Translations
- ‘My Name is Will’: Shakespeare's Sonnets and Autobiography
- Tracings and data inThe Tempest:author, world and representation
- Shakespearian Gesture: Narrative and Iconography
- The Origin of the Late Renaissance Dramatic Convention of Self-Addressed Speech
- Reading in their present: Early readers and the origins of Shakespearian appropriation
- Shakespeare out of time (or, Hugo takes dictation from the beyond)
- Betrayal, Derail, or a Thin Veil: The Myth of Origin
- Global Shakespeares, Affective Histories, Cultural Memories
- Spinach and Tobacco: making Shakespearian unoriginals
- Ren Fest Shakespeare: the Cosplay Bard
- ‘Dead as earth’: contemporary topicality and myths of origin inKing LearandThe Shadow King
- Shakespeare and the idea of national theatres
- John Rice and the boys of the Jacobean King's Men
- Shakespeare's Irish lives: the politics of biography
- Shakespeare in blockaded Berlin: the 1948 ‘Elizabethan Festival’
- Connecting the Globe: Actors, Audience and Entrainment
- ‘Freetown!’: Shakespeare and Social Flourishing
- We'll always have Paris: the third household and the ‘bed of death’ inRomeo and Juliet
- The ‘serpent of old Nile’: Cleopatra and the pragmatics of reported speech
- ‘This insubstantial pageant faded’: the drama of semiotic anxiety inThe Tempest
- Shakespeare performances in England 2014
- Professional Shakespeare Productions in the British Isles January–December 2013
- The Year's Contribution to Shakespeare Studies
- Index
- References
The Year's Contribution to Shakespeare Studies
Published online by Cambridge University Press: 05 November 2015
Edited by
Book contents
- Shakespeare Survey68Shakespeare, Origins and Originality
- Advisory Board
- Shakespeare Survey
- Copyright page
- Editor’s Note
- Contributors
- Contents
- Illustrations
- Shakespeare's anecdotal character
- What is a source? Or, how Shakespeare read his Marlowe
- Imitation or collaboration? Marlowe and the early Shakespeare canon
- ‘O Jephthah, judge of Israel’: from original to accreted meanings in Hamlet's allusion
- The elephants’ graveyard revisited: Shakespeare at work inAntony and Cleopatra,Romeo and JulietandAll's Well That Ends Well
- ‘Every like is not the same’: translating Shakespeare in Spanish today
- Reading Originals by the Light of Translations
- ‘My Name is Will’: Shakespeare's Sonnets and Autobiography
- Tracings and data inThe Tempest:author, world and representation
- Shakespearian Gesture: Narrative and Iconography
- The Origin of the Late Renaissance Dramatic Convention of Self-Addressed Speech
- Reading in their present: Early readers and the origins of Shakespearian appropriation
- Shakespeare out of time (or, Hugo takes dictation from the beyond)
- Betrayal, Derail, or a Thin Veil: The Myth of Origin
- Global Shakespeares, Affective Histories, Cultural Memories
- Spinach and Tobacco: making Shakespearian unoriginals
- Ren Fest Shakespeare: the Cosplay Bard
- ‘Dead as earth’: contemporary topicality and myths of origin inKing LearandThe Shadow King
- Shakespeare and the idea of national theatres
- John Rice and the boys of the Jacobean King's Men
- Shakespeare's Irish lives: the politics of biography
- Shakespeare in blockaded Berlin: the 1948 ‘Elizabethan Festival’
- Connecting the Globe: Actors, Audience and Entrainment
- ‘Freetown!’: Shakespeare and Social Flourishing
- We'll always have Paris: the third household and the ‘bed of death’ inRomeo and Juliet
- The ‘serpent of old Nile’: Cleopatra and the pragmatics of reported speech
- ‘This insubstantial pageant faded’: the drama of semiotic anxiety inThe Tempest
- Shakespeare performances in England 2014
- Professional Shakespeare Productions in the British Isles January–December 2013
- The Year's Contribution to Shakespeare Studies
- Index
- References
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- Shakespeare Survey , pp. 422 - 462Publisher: Cambridge University PressPrint publication year: 2015
References
Books reviewed
Clare, Janet, Shakespeare's Stage Traffic: Imitation, Borrowing and Competition in Renaissance Theatre (Cambridge, 2014)Google Scholar
Cummings, Brian, Mortal Thoughts, Religion, Secularity and Identity in Shakespeare and Early Modern Culture (Oxford, 2013)Google Scholar
Goldstein, David, Eating and Ethics in Shakespeare's England (Cambridge, 2013)CrossRefGoogle Scholar
Gray, Patrick and Cox, John D., eds., Shakespeare and Renaissance Ethics (Cambridge, 2014)Google Scholar
Griffith, Eva, A Jacobean Company and its Playhouse: The Queen's Servants and the Red Bull Theatre, 1605–1619 (Cambridge, 2014)Google Scholar
Johnson, Laurie, Sutton, John and Tribble, Evelyn, eds., Embodied Cognition and Shakespeare's Theatre (New York and Abingdon, 2014)Google Scholar
Keenan, Siobhan, Acting Companies and their Plays in Shakespeare's London (London, 2014)Google Scholar
Lafont, Agnes, ed., Shakespeare's Erotic Mythology and Ovidian Renaissance Culture (Farnham, 2014)Google Scholar
Quiring, Björn, Shakespeare's Curse: The Aporias of Ritual Exclusion in Early Modern Royal Drama (Abingdon, 2014)Google Scholar
Tarlinskaja, Marina, Shakespeare and the Versification of English Drama, 1561–1642 (Farnham, 2014)Google Scholar
Works reviewed
Crowl, Samuel, Screen Adaptations: Shakespeare's ‘Hamlet’: The Relationship between Text and Film (London and New York, 2014)Google Scholar
Drouin, Jennifer, Shakespeare in Québec: Nation, Gender, and Adaptation (Toronto, 2014)Google Scholar
Escolme, Bridget, Emotional Excess on the Shakespearean Stage: Passion's Slaves (London and New York, 2014)Google Scholar
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Gaby, Rosemary, Open-air Shakespeare: Under Australian Skies (Basingstoke and New York, 2014)Google Scholar
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Works Reviewed
Bliss, Lee, ed., Coriolanus, 2nd edn with updated introduction by Bridget Escolme (Cambridge, 2010)Google Scholar
Jackson, MacDonald P., Determining the Shakespeare Canon: ‘Arden of Faversham’ and ‘A Lover's Complaint’ (Oxford, 2014)Google Scholar
Jenkins, Jacqueline, and Sanders, Julie, eds., Editing, Performance, Texts: New Practices in Medieval and Early Modern English Drama (Basingstoke, 2014)Google Scholar
Purkis, James, ‘The Revision of Manuscript Drama’, in Jenkins and Sanders (2014), pp. 107–25Google Scholar
Schlueter, Kurt, ed., The Two Gentlemen of Verona, 2nd edn with updated introduction by Munro, Lucy (Cambridge, 2012)Google Scholar
Tarlinskaja, Marina, Shakespeare and the Versification of English Drama, 1561–1642 (Farnham, 2014)Google Scholar