A SCHOLARLY BOOK REPOSITORY12 start with R start with R
Although we know it by the name of Raphael Holinshed, editor and major compiler of the 1577 edition, the Chronicles was the work of a group, a collaboration between antiquarians, clergymen, members of parliament, poets, publishers, and booksellers. Through a detailed reading, Patterson argues that the Chronicles convey rich insights into the way the Elizabethan middle class understood their society. Responding to the crisis of disunity which resulted from the Reformation, the authors of the Chronicles embodied and encouraged an ideal of justice, what we would now call liberalism, that extended beyond the writing of history into the realms of politics, law, economics, citizenship, class, and gender. Also, since the second edition of 1587 was called in by the Privy Council and revised under supervision, the work constitutes an important test case for the history of early modern censorship.
An essential book for all students of Tudor history and literature, Reading Holinshed's Chronicles brings into full view a long misunderstood masterpiece of sixteenth-century English culture.
As Steven Mullaney shows in The Reformation of Emotions in the Age of Shakespeare, Elizabethan popular drama played a significant role in confronting the uncertainties and unresolved traumas of Elizabethan Protestant England. Shakespeare and his contemporaries—audiences as well as playwrights—reshaped popular drama into a new form of embodied social, critical, and affective thought. Examining a variety of works, from revenge plays to Shakespeare’s first history tetralogy and beyond, Mullaney explores how post-Reformation drama not only exposed these faultlines of society on stage but also provoked playgoers in the audience to acknowledge their shared differences. He demonstrates that our most lasting works of culture remain powerful largely because of their deep roots in the emotional landscape of their times.
"No one who has read [Greenblatt's] accounts of More, Tyndale, Wyatt, and others can fail to be moved, as well as enlightened, by an interpretive mode which is as humane and sympathetic as it is analytical. These portraits are poignantly, subtly, and minutely rendered in a beautifully lucid prose alive in every sentence to the ambivalences and complexities of its subjects."—Harry Berger Jr., University of California, Santa Cruz
"No one who has read [Greenblatt's] accounts of More, Tyndale, Wyatt, and others can fail to be moved, as well as enlightened, by an interpretive mode which is as humane and sympathetic as it is analytical. These portraits are poignantly, subtly, and minutely rendered in a beautifully lucid prose alive in every sentence to the ambivalences and complexities of its subjects."—Harry Berger Jr., University of California, Santa Cruz
Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
Every line of Shakespeare has been commented upon, revised, or deleted and reinstated many times over. His greatest contemporary, Ben Jonson, remarked that Shakespeare should have “blotted a thousand” lines himself; his greatest editor, Samuel Johnson, surveying the inability of previous editors to refrain from improving what they could not understand, attempted to restore Shakespeare's works “to their integrity.”
In Revising Shakespeare Grace Ioppolo addresses the question of Shakespeare's “integrity.” Through patient analysis of variant texts spanning the history of the plays, she arrives at a fresh interpretation of Shakespeare as author and reviser. Ioppolo starts where all of us—critics, teachers, textual scholars, and general readers—must start, with the physical text. As recent textual studies of King Lear have shown, the text of Shakespeare is not a given. The “text” is nearly always a revision of another text. Critics can no longer evaluate plots, structure, and themes, nor can scholars debate what constitutes (or how to establish) a copy-text that stands as the “most authoritative” version of a Shakespeare play, without reconsidering the implications of revision for traditional and modern interpretations.
Ioppolo examines the evidence provided by dramatic manuscripts and early printed texts of Shakespeare and his contemporaries. Gradually we see how a recognition of the diverse facts regarding authorial revision leads to basic changes in how we study, edit, and teach Shakespeare. Ioppolo places the textual revolution in a broad historical, theatrical, textual, and literary context, presenting textual studies that show Shakespeare and other Elizabethan and Jacobean dramatists at work revising themselves, their plays, and their audiences. She concludes that both textual and literary critics must now reevaluate and redefine the idea of the “text” as well as that of the “author”; the “text” is no longer editorially or theoretically composite or finite, but multiple and ever-revising. Perhaps most important, Ioppolo produces a new conception of Shakespeare as a creator and recreator, viewer and reviewer, writer and rewriter of his dramatic world.
Following the events of the final two years of his life, Richard II interrogates royal power and the forces that threaten it. After banishing his cousin Henry Bolingbroke, Richard begins to lose grip of his throne and strives to find meaning in the churn and chaos of the events unfolding around him. In her new translation, Naomi Iizuka ventures into the mystery of the work, scraping away the layers of received wisdom and cracking the play open for contemporary audiences.
This translation of Richard II 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 work from “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.
Nuyorican playwright Migdalia Cruz unpacks and repositions Shakespeare’s Richard III for a twenty-first-century audience. She presents a contemporary English verse translation, faithfully keeping the poetry, the puns, and the politics of the play intact, with a rigorous and in-depth examination of Richard III—the man, the king, the outsider—who is still the only English king to have died in battle. In the Wars of the Roses, his Catholic belief in his country led to his slaughter at Bosworth’s Field by his Protestant rivals. In reimagining this text, Cruz emphasizes Richard III’s outsider status—exacerbated by his severe scoliosis, which twisted his spine—by punctuating the text with punk music from 1970s London. Cruz’s Richard is no one’s fool or lackey. He is a new kind of monarch, whose dark sense of humor and deep sense of purpose leads his charge against the society which never fully accepted him because he looked different.
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.
Richard III will always be central to English disability history as both man and myth—a disabled medieval king made into a monster by his nation’s most important artist.
In Richard III’s Bodies from Medieval England to Modernity, Jeffrey Wilson tracks disability over 500 years, from Richard’s own manuscripts, early Tudor propaganda, and x-rays of sixteenth-century paintings through Shakespeare’s soliloquies, into Samuel Johnson’s editorial notes, the first play produced by an African American Theater company, Freudian psychoanalysis, and the rise of disability theater. For Wilson, the changing meanings of disability created through shifting perspectives in Shakespeare’s plays prefigure a series of modern attempts to understand Richard’s body in different disciplinary contexts—from history and philosophy to sociology and medicine.
While theorizing a role for Shakespeare in the field of disability history, Wilson reveals how Richard III has become an index for some of modernity’s central concerns—the tension between appearance and reality, the conflict between individual will and external forces of nature and culture, the possibility of upward social mobility, and social interaction between self and other, including questions of discrimination, prejudice, hatred, oppression, power, and justice.
“For never was a story of more woe / Than this of Juliet and her Romeo.” In this new version of Romeo and Juliet, written in accessible modern English, Hansol Jung breathes new life into Shakespeare’s famous tragedy. By closely examining the familiar language and focusing on the subtleties of the text, Jung illuminates a surprising and more nuanced world than many of us have come to expect from the well-known tale of star-crossed lovers.
This translation of Romeo and Juliet 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 work from “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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