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Haworth B: Shakespeare's Liminal Spaces

Shakespeare's Liminal Spaces

Contesting Authority on the Early Modern Stage

The first study of creative and cultural afterlives of Gulliver's Travels produced over the past 3 centuries that covers work in the form of illustrated books, comics, graphic novels, films, animations, poetry, plays and pantomimes and much more.

300 Years of Transmedia Adaptation

Gulliver’s Afterlives

Beckett and Broadcasting pioneered the study of Beckett and the media in 1976. Originally a doctoral dissertation defended at Åbo Akademi University (Finland), it has long been out of print. It is here republished with a sizable new introduction focusing on the role of radio in Beckett's œuvre.

On Works by Samuel Beckett for and in Radio and Television

Beckett and Broadcasting

Bloomsbury Neo-Latin Series: Early Modern Texts and Anthologies

On June 13, 1753 the Irene set sail from London to New York. One of her passengers was Christian Wedsted, a Moravian missionary headed to his post in Bethlehem, Pennsylvania. While many travelers would chronicle their transatlantic journeys, Wedsted chose to recount his in 200 lines of Latin poetry, imitating the preferred form of the ancient Roman poet Ovid. This poem is one of about 45 Latin poems that Wedsted composed in Germany, England, and Pennsylvania, all of which are presented here together for the first time alongside translations into English. A critical introduction and commentary provide historical, literary, and religious context for Wedsted's poetry, across an oeuvre containing birthday poems, impassioned religious verses, and personal anecdotes about life in colonial Pennsylvania. At around 1200 lines, the poems make up one of the largest extant collections of 18th-century Latin poetry from the Americas. Moravian piety is central to Wedsted's identity, and he exchanges poems with important Moravian personalities, weaving together classical material and Christian material to create an original and unique project in colonial America. Many of the poems are experiments in genre that put ancient models and meters to work in new contexts. Half of the poems were written after his arrival in America, and as such they offer a rare window into life on the colonial frontier.

The Latin Poems of Christian Wedsted

The Manchester Spenser

This book explores the English response to the sudden and devastating 1598 revolt against the Munster colony through two anonymous texts that have been associated with the poet and planter Edmund Spenser. Set against the background of nationwide unrest in Ireland and the ongoing Anglo-Spanish conflict, both the Brief Discourse and longer Supplication display huge vitriol against the untrustworthy Irish and their Catholic conspiracies and demand rapid action by the state in London to save the beleaguered colonists and England's control of Ireland as a whole. The more extreme, propagandistic and providentialist Supplication wanted revenge and was openly contemptuous of Queen Elizabeth for not doing her duty as a godly prince to defend those striving with their own blood and treasure to make Ireland a more civilized place. As well as contextualizing the documents and exploring the mentalities, themes and literary influences involved, this study also explores the problems of their authorship looking at a variety of English colonists, clergy and officials in Ireland in addition to Spenser himself. Eventually the laborious process of stylometric testing was used to compare the two anonymous texts against 21 other contemporary writings. The tests established Spenser as author of the Brief Discourse, which was already odds on, but discovered an entirely unexpected author for The Supplication who was not known to have been in Munster in 1598. These important texts have been fully annotated and are presented to the public in modernized English.

'A Brief Discourse of Ireland' and 'the Supplication of the Blood of the English' from the Munster Revolt of 1598

Spenserian Tracts

The Transformation of Popular Theatre to Printed Book

The Texts of Shakespeare

Shakespeare Retold

The Winter's Tale, Retold

The Gap of Time

Shakespeare and Adaptation

Gender, Sexuality, Race and Politics on Stage

Shakespeare and Ballet

World Baroque

Relics, Dreams, Voyages

This volume presents a newly edited text of Euripides' Electra with a scene-by-scene and line-by-line commentary that addresses a wide variety of questions, including the nature of Euripidean tragedy. In his Introduction and across several discussions in the commentary, David Kovacs presents an alternative to the current scholarly consensus on Euripides. Scholars following this consensus tell us that Euripides' play is a cynical take on the old story of Orestes' and Electra's revenge on Aegisthus and Clytaemestra. Both of the principal figures, we are told, are morally diminished, Electra inter alia by her excessive hatred of Clytaemestra and Orestes by his cynical reliance on Aegisthus' hospitable nature to get himself invited to the sacrifice at which he will kill his host. It is also alleged that this play virtually excludes the gods, who are part and parcel of the tragic genre. Kovacs shows that these and similar unfavourable judgements fail to take note of the practice of the other tragedians and also overlook evidence from Euripides' text, such as the frequent mention of the gods, that locate the play squarely within the tragic genre. What emerges is a play that is well constructed and thematically integrated; a play whose novelties--and an Athenian audience would not have wanted a play on an oft-treated myth to lack novelty--are all new ways of producing tragic effects found also in Aeschylus and Sophocles; a play that gives greater scope to the tragic view of the universe than even the corresponding plays of Aeschylus and Sophocles, thereby confirming Aristotle's judgement that Euripides is 'the most tragic of the poets'; in short, a play that can be called a tragedy without qualification. The gap between Euripides' original manuscript and the earliest complete copy we possess is nearly two millennia. This volume makes a considerable number of suggestions for improving a Greek text that has been badly corrupted over this period of manual copying.

Edited with Introduction and Commentary

Euripides: Electra

The Revels Plays

John Fletcher, Philip Massinger and Nathan Field

Thierry and Theodoret

Take a tour of New York City as inspiration, place and context in the work of America's greatest playwright of the 20th century, brought to life with images from Miller's time and today.

Visions of the City

Arthur Miller’s New York

Shakespeare in Performance

Boika Sokolova and Kirilka Stavreva's second edition of the stage history of The Merchant of Venice interweaves into the chronology of James Bulman's first edition richly contextualised chapters on Max Reinhardt, Peter Zadek, and the first production of the play in Mandatory Palestine, directed by Leopold Jessner. The main focus of the book is on post-1990s productions across Europe and the USA. The Segue provides a broad survey of the interpretative shifts in performance from the 1930s to the second decade of the twenty-first century. Informative chapters on productions of the play by major contemporary directors present the work of Trevor Nunn, Robert Sturua, Edward Hall, Rupert Goold, Daniel Sullivan and Karin Coonrod's staging in the Venetian Ghetto. An extensive section engages with the cinematic history of the play, from silent-era adaptations, like Peter Paul Felner's Der Kaufmann von Venedig (The Jew of Mestri), through Pierre Billon's talkie Le Marchand de Venise; it includes a close analysis of Don Selwyn's Te Tangata Whai Rawa or Weniti (The Maori Merchant of Venice) and Michael Radford's William Shakespeare's The Merchant of Venice. This broad picture of key theatrical and film transformations of The Merchant of Venice will prove essential to students of the history of performance, scholars interested in the general trends and local specificities of the play's staging and reception, as well as to theatre practitioners and all those who are prepared to look into the dark history of anti-Semitism and oppression, reflected in the stage fortunes of Shakespeare's play.

The Merchant of Venice

Shakespeare's Liminal Spaces

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