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The Accommodated Animal
Cosmopolity in Shakespearean Locales
Laurie Shannon
University of Chicago Press, 2013
Shakespeare wrote of lions, shrews, horned toads, curs, mastiffs, and hellhounds. But the word “animal” itself only appears very rarely in his work, which was in keeping with sixteenth-century usage. As Laurie Shannon reveals in The Accommodated Animal, the modern human / animal divide first came strongly into play in the seventeenth century, with Descartes’s famous formulation that reason sets humans above other species: “I think, therefore I am.” Before that moment, animals could claim a firmer place alongside humans in a larger vision of belonging, or what she terms cosmopolity.
 
With Shakespeare as her touchstone, Shannon explores the creaturely dispensation that existed until Descartes. She finds that early modern writers used classical natural history and readings of Genesis to credit animals with various kinds of stakeholdership, prerogative, and entitlement, employing the language of politics in a constitutional vision of cosmic membership. Using this political idiom to frame cross-species relations, Shannon argues, carried with it the notion that animals possess their own investments in the world, a point distinct from the question of whether animals have reason. It also enabled a sharp critique of the tyranny of humankind. By answering “the question of the animal” historically, The Accommodated Animal makes a brilliant contribution to cross-disciplinary debates engaging animal studies, political theory, intellectual history, and literary studies.
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The Acoustic World of Early Modern England
Attending to the O-Factor
Bruce R. Smith
University of Chicago Press, 1999
We know how a Shakespeare play sounds when performed today, but what would listeners have heard within the wooden "O" of the Globe Theater in 1599? What sounds would have filled the air in early modern England, and what would these sounds have meant to people in that largely oral culture?

In this ear-opening journey into the sound-worlds of Shakespeare's contemporaries, Bruce R. Smith explores both the physical aspects of human speech (ears, lungs, tongue) and the surrounding environment (buildings, landscape, climate), as well as social and political structures. Drawing on a staggeringly wide range of evidence, he crafts a historical phenomenology of sound, from reconstructions of the "soundscapes" of city, country, and court to detailed accounts of the acoustic properties of the Globe and Blackfriars theaters and how scripts designed for the two spaces exploited sound very differently.

Critical for anyone who wants to understand the world of early modern England, Smith's pathbreaking "ecology" of voice and listening also has much to offer musicologists and acoustic ecologists.

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Aguecheek's Beef, Belch's Hiccup, and Other Gastronomic Interjections
Literature, Culture, and Food Among the Early Moderns
Robert Appelbaum
University of Chicago Press, 2006
We didn’t always eat the way we do today, or think and feel about eating as we now do. But we can trace the roots of our own eating culture back to the culinary world of early modern Europe, which invented cutlery, haute cuisine, the weight-loss diet, and much else besides. Aguecheek’s Beef, Belch’s Hiccup tells the story of how early modern Europeans put food into words and words into food, and created an experience all their own. Named after characters in Shakespeare’s Twelfth Night, this lively study draws on sources ranging from cookbooks to comic novels, and examines both the highest ideals of culinary culture and its most grotesque, ridiculous and pathetic expressions. Robert Appelbaum paints a vivid picture of a world in which food was many things—from a symbol of prestige and sociability to a cause for religious and economic struggle—but always represented the primacy of materiality in life.
Peppered with illustrations and a handful of recipes, Aguecheek’s Beef, Belch’s Hiccup will appeal to anyone interested in early modern literature or the history of food.
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All's Well That End's Well
William Shakespeare
Arizona Center for Medieval and Renaissance Studies, 2024
This translation of Shakespeare’s overlooked play will captivate contemporary readers.

Virginia Grise takes on one of Shakespeare’s lesser-known plays in her translation of All’s Well That Ends Well. It is a play that has challenged actors, directors, and audiences for four-hundred years, and in this edition, Grise updates Shakespeare’s language for modern ears.

This translation was written as part of the Oregon Shakespeare Festival’s Play On! project, which commissioned new translations of thirty-nine Shakespeare plays. These translations present the work of "The Bard" in language accessible to modern audiences while never losing the beauty of Shakespeare’s verse. These volumes make these works available for the first time in print—a new First Folio for a new era.
 
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Antony and Cleopatra
William Shakespeare
Arizona Center for Medieval and Renaissance Studies, 2023
A lively contemporary translation of Shakespeare’s sexiest play.
 
In Antony and Cleopatra, Christopher Chen tackles the sweeping epic of love and betrayal at the center of the story of the rulers Antony of Rome and Cleopatra of Egypt. In this contemporary translation of the play, Chen brings the political intrigue and historical storytelling of Shakespeare to modern audiences while preserving the poetic foundation of the play’s language.
 
This translation of Antony and Cleopatra was written as part of the Oregon Shakespeare Festival’s Play On! project, which commissioned new translations of thirty-nine Shakespeare plays. These translations present the work of “The Bard” in language accessible to modern audiences while never losing the beauty of Shakespeare’s verse. Enlisting the talents of a diverse group of contemporary playwrights, screenwriters, and dramaturges from diverse backgrounds, this project reenvisions Shakespeare for the twenty-first century. These volumes make these works available for the first time in print—a new First Folio for a new era.
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The Art of Shakespeare’s Sonnets
Helen Vendler
Harvard University Press, 1997

“A great achievement, the work of an author with an almost devout passion for good poems.”
—Frank Kermode, New Republic

“Criticism of the Sonnets, and by extension, critical accounts of poetry, will never be the same again.”
—Tom Paulin, London Review of Books

The definitive guide to Shakespeare’s Sonnets from the most accomplished critic of our time.

More than four centuries after its initial publication, William Shakespeare’s Sonnets is still very much a living text. Despite all the regalia of its Elizabethan English, despite its baroque grammatical dislocations, Shakespeare’s major work of lyric poetry remains an inexhaustible source of literary wonder.

In detailed commentaries on each of the 154 sonnets, Helen Vendler offers a lucid analysis of the verse stylings that we have come to call “Shakespearean.” The supreme accomplishment of these fourteen-line poems, Vendler demonstrates, lies not in their often-conventional themes and images—love and death, roses and thorns, summer’s heat and winter’s cold—nor in some hidden, deeper meaning, but in the seemingly effortless virtuosity of their arrangements. Shakespeare’s sly subversions, his boundless capacity for formal invention, and his uncanny ability to breathe life into even the most commonplace metaphors betray a poetic imagination that has never yet found its equal.

Presented alongside both the original and the modernized texts, Vendler’s commentaries not only illuminate the sheer abundance of Shakespeare’s rhetorical strategies and his dynamic use of the sonnet form; they also reveal the sharp satire and scandalous irreverence that he directs toward everything from traditional sexual mores to Petrarchan views of love. Above all, Vendler provides an unparalleled view of a poetic mind at work, both Shakespeare’s and her own.

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The Art of the Sonnet
Stephanie Burt and David Mikics
Harvard University Press, 2010

Few poetic forms have found more uses than the sonnet in English, and none is now more recognizable. It is one of the longest-lived of verse forms, and one of the briefest. A mere fourteen lines, fashioned by intricate rhymes, it is, as Dante Gabriel Rossetti called it, “a moment’s monument.” From the Renaissance to the present, the sonnet has given poets a superb vehicle for private contemplation, introspection, and the expression of passionate feelings and thoughts.

The Art of the Sonnet collects one hundred exemplary sonnets of the English language (and a few sonnets in translation), representing highlights in the history of the sonnet, accompanied by short commentaries on each of the poems. The commentaries by Stephanie Burt and David Mikics offer new perspectives and insights, and, taken together, demonstrate the enduring as well as changing nature of the sonnet. The authors serve as guides to some of the most-celebrated sonnets in English as well as less-well-known gems by nineteenth- and twentieth-century poets. Also included is a general introductory essay, in which the authors examine the sonnet form and its long and fascinating history, from its origin in medieval Sicily to its English appropriation in the sixteenth century to sonnet writing today in the United States, the United Kingdom, and other English-speaking parts of the world.

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As You Like It
William Shakespeare
Arizona Center for Medieval and Renaissance Studies, 2021

Actor and director David Ivers presents As You Like It, as you’d like to hear it today. Presenting a new translation of Shakespeare into contemporary English, Ivers reimagines Shakespeare’s comedy from an actor’s point of view. Analyzing the play line by line to uncover the meaning of every joke, pun, and witty aside, Ivers repurposes Shakespeare’s language while maintaining an homage to the original rhythm, cadence, and structure. An accomplished actor and director, and a lifelong lover of the Bard, Ivers is the perfect writer to bring As You Like It into the present moment. 

This translation of As You Like It was written as part of the Play On! Shakespeare project, an ambitious undertaking from the Oregon Shakespeare Festival that commissioned new translations of 39 Shakespeare plays. These translations present the Bard’s work in language accessible to modern audiences while never losing the beauty of Shakespeare’s verse. Enlisting the talents of a diverse group of contemporary playwrights, screenwriters, and dramaturges from diverse backgrounds, this project reenvisions Shakespeare for the twenty-first century. These volumes make these works available for the first time in print—a new First Folio for a new era. 

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