Alternative Shakespeares: Volume 3 (New Accents) (v. 3)
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This volume takes up the challenge embodied in its predecessors, Alternative Shakespeares and Alternative Shakespeares 2, to identify and explore the new, the changing and the radically ‘other’ possibilities for Shakespeare Studies at our particular historical moment.
Alternative Shakespeares 3 introduces the strongest and most innovative of the new directions emerging in Shakespearean scholarship – ranging across performance studies, multimedia and textual criticism, concerns of economics, science, religion and ethics – as well as the ‘next step’ work in areas such as postcolonial and queer studies that continue to push the boundaries of the field. The contributors approach each topic with clarity and accessibility in mind, enabling student readers to engage with serious ‘alternatives’ to established ways of interpreting Shakespeare’s plays and their roles in contemporary culture.
The expertise, commitment and daring of this volume’s contributors shine through each essay, maintaining the progressive edge and real-world urgency that are the hallmark of Alternative Shakespeares. This volume is essential reading for students and scholars of Shakespeare who seek an understanding of current and future directions in this ever-changing field.
Contributors include: Kate Chedgzoy, Mary Thomas Crane, Lukas Erne, Diana E. Henderson, Rui Carvalho Homem, Julia Reinhard Lupton, Willy Maley, Patricia Parker, Shankar Raman, Katherine Rowe, Robert Shaughnessy, W. B. Worthen
Robert Hamilton Ball should still seem familiar to anyone surveying a Shakespeare Association of America (SAA) program or scanning our leading journals to extrapolate their implied readership. The intellectual cross-pollinations of screen adaptation—like those of global appropriation more generally and also of performance—are pursued in separate seminars and panels, special issues, and dedicated anthologies and journals. Recent scholarship has put the study of screen Shakespeare on more
today. Early modern theatrical scripts of Shakespeare’s plays have not survived, whereas printed texts have; and the very existence of these printed texts means that they were not only written to be performed but also printed to be read. While the number of spectators was no doubt superior to that of readers of Shakespeare’s plays, the number of the latter is by no means negligible. Fifty-eight quarto or octavo editions of Shakespeare’s plays were printed before the publication of the First Folio
wedding masque, a celebratory performance marking one of the key rituals of transition for early modern women; yet, like the Shakespearean wedding masques discussed above, it stops just short of matrimony. Playing with Cupid, and with the rituals of female adolescence, Rachel Fane’s masque explores some of the implications of both Cupid’s enjoyably disruptive energies and the ways in which they may be tamed, excluded or appropriated by the structures that shape adult femininity. In the context of
what certaine quantity or multitude of those things, quantities, or magnitudes we desire to have named, knowne, or signified” (Masterson 1634: 1). John Dee’s discussion of numbers in his “Mathematicall Preface” to the English translation of Euclid’s Elements is yet more complex, introducing a subtle metaphysical distinction between unit and number,16 even as he echoes the Euclidean definition. 169 170 11 2 3 4 5 6 7 8 9 10 1 2 3 4 5 6 7 81 9 20 1 2 3 4 5 6 7 8 9 30 1 2 3 4 5 6 711 SHANKAR
as well as the displacement of the teaching of commercial arithmetic from the university curriculum into the mercantile world. These conditions were met in late fifteenth-century northern Italy, where the growth in the complexity of commercial transactions and trade gradually led to widespread adoption of the new notation (Durham 1992). G. E. M. de Ste Croix argues that the alphabetic notations used by the Greeks and Romans mitigated against the recognition of placevalue in its full sense.