Reading Material in Early Modern England rediscovers the practices and representations of sixteenth- and seventeenth-century English readers. By telling their stories and insisting upon their variety, Brayman Hackel displaces both the singular 'ideal' reader of literacy theory and the elite male reader of literacy history.
The Language and Writing series offers a new type of study aid which combines lively critical insight with practical guidance on the critical and writing skills students need to develop in order to engage fully with Shakespeare's texts. The books' core focus is on language: both understanding and enjoying Shakespeare's rich and complex dramatic lanaguage, and the student's own critical language and how she can improve and develop this to become a critical writer. This lively and informative guide reveals A Midsummer Night's Dream as a play rich in all types of language - figurative, gestural, gendered and idiomatic - and a comedy in which language is misused. It is an ideal play from which to explore Shakespeare's imaginative and creative use of language as dramatic and poetic text.
Reading Material in Early Modern England rediscovers the practices and representations of sixteenth- and seventeenth-century English readers. By telling their stories and insisting upon their variety, Brayman Hackel displaces both the singular 'ideal' reader of literacy theory and the elite male reader of literacy history.
Focusing on the production and reception of drama during the theatre closures of 1642 to 1660, Heidi Craig shows how the 'death' of contemporary theatre in fact gave birth to English Renaissance drama as a critical field. While the prohibition on playing in many respects killed the English stage, drama thrived in print, with stationers publishing unprecedented numbers of previously unprinted professional plays, vaunting playbooks' ties to the receding theatrical past. Marketed in terms of novelty and nostalgia, plays unprinted before 1642 gained new life. Stationers also anatomized the whole corpus of English drama, printing the first anthologies and comprehensive catalogues of drama. Craig captures this crucial turning-point in English theatre history with chapters on royalist nostalgia, clandestine theatrical revivals, dramatic compendia, and the mysteriously small number of Shakespeare editions issued during the period, as well as a new incisive reading of Beaumont and Fletcher's A King and No King.
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