David Fuller – författare

This catalogue completes the bibliographic survey of French harpsichord music begun in Bruce Gustafson's French Harpsichord Music of the Seventeenth Century: A Thematic Catalogue of Sources with Commentary (Ann Arbor, 1979). It has entries for all of the printed music known to have existed, over 230 volumes, and 150 manuscripts. It offers precise transcriptions of the title pages, full contents, dating, locations, editions, facsimiles, evaluations in the contemporary press, identifications of dedicatees, and stylistic comments.The eighteenth-century French harpsichord repertory is shown to extend from 1699 to about 1780, from Louis Marchand's Pièces de clavecin to the four Symphonies concertantes by Jean-François Tapray that juxtapose the harpsichord and piano as solo instruments. All original keyboard music is included. Since the introduction of the piano into France occurred during the twenty years preceding 1780, this Catalogue includes some music that may have been intended for that instrument rather than for the harpsichord. This period of transition is discussed in full in the Introduction.

This volume, which completes the Oxford English Texts edition of The Complete Works of Christopher Marlowe, contains the two parts of Tamburlaine the Great, edited by David Fuller, and The Massacre at Paris, edited by Edward J. Esche. It is the first time that either text has been presented in an old-spelling edition with a full critical commentary and textual annotation. The introduction to Tamburlaine gives a detailed account of the plays' sources, stage history, and text. The critical discussion considers the fundamental clashes which Marlowe dramatizes; the differing interpretations - often involved with opposing views of the Renaissance - to which these have given rise; and how new critical methodologies, and recent research into occult traditions in the Renaissance, might affect our reading of Marlowe. The commentary brings together the extensive modern scholarship on the plays, offers some new suggestions about their probable stage action, and cites new material from the period to contextualize Marlowe's treatment of war, medicine, religious controversy, and many other subjects. It also draws on scholarship on Elizabethan pronunciation to clarify Marlowe's poetic rhythms, and uses the revised edition of OED to investigate more fully than has previously been possible the originality and inventiveness of Marlowe's language. The Massacre at Paris survives only in a severely mangled version, which bears many of the signs of a `reported text'; nevertheless, it provides us with the unique example of Marlowe using contemporary French history as his subject matter. The play has been edited from the copy of the Octavo once belonging to Edmund Malone, now held in the Bodleian Library. The edition also presents the single extant leaf of Massacre (Folger MS. J.b.8) in an authoritative form with apparatus, and argues for its legitimacy as a genuine playhouse document, although not Marlowe's autograph.

This collection reflects on developments in criticism which bear on a debate between different modes of knowledge: a science model and its place in the university versus other ways of conceiving knowledge for which the arts have traditionally been seen as vehicles. Discussion ranges widely with contributions from outside the literary academy, including essays by the novelists Doris Lessing and David Lodge. All the essays are concerned with what literature, and therefore criticism, is or aims to be. Several are concerned with a specifically aesthetic way of knowing, the value of which lies in its very resistance to scientific models of knowledge. The answers about how literature can resist such models, and what kinds of knowing best respond to the distinctive nature of aesthetic experience, are varied. The collection also addresses the consequences for literary criticism of the politically-driven critique which has recently undermined traditional concepts of truth and knowledge in both arts and sciences. And finally it asks whether professional criticism should be a deepened extension of the sense-making activity of ordinary intelligent reading, or whether it should be a purely objective study, analogous to other scientific forms of knowledge studied in an academic context.

Romantic criticism, of which Shakespeare is the central figure, invented many of the modes of modern criticism. It is also distinct from many contemporary academic norms. Engaged with the social and intellectual currents of an age of revolutionary change, it is experimental, writerly, and individually expressive. Above all it is creative in response to the difficulties of understanding aesthetic experience in new ways, and in setting those experiences in new cultural and political contexts that Shakespeare's work helped to shape. This book presents the main currents of these exciting but relatively little known engagements with Shakespeare, and through Shakespeare with the theory and practice of criticism, in England, Germany, and France, from the 1760s in Germany to the aftermath of the Romanticism in France. It also discusses Shakespeare in the theatre of the period--realist stagings which prefigure Shakespeare films; adaptations which fitted Shakespeare to contemporary tastes; and bare-stage experiments which foreshadow modes of contemporary theatre. A chapter on scholarship in the period shows Shakespeare as central to modern editing and historical criticism. Much of the writing discussed is by men and women whose focus is not primarily critical but creative--poetry (Coleridge, Keats, Heine), fiction (Stendhal), drama (Lessing), or all three (Goethe, Hugo), cultural critique (Jameson, de Staël), philosophy (Hamann, Herder), politics (Hazlitt, Guizot), aesthetics (the Schlegel circle), or new original work in other media (Berlioz, Delacroix, Chassériau). It is writing directed to new modes of creating as well as new modes of understanding.

Romantic criticism, of which Shakespeare is the central figure, invented many of the modes of modern criticism. It is also distinct from many contemporary academic norms. Engaged with the social and intellectual currents of an age of revolutionary change, it is experimental, writerly, and individually expressive. Above all it is creative in response to the difficulties of understanding aesthetic experience in new ways, and in setting those experiences in new cultural and political contexts that Shakespeare's work helped to shape. This book presents the main currents of these exciting but relatively little known engagements with Shakespeare, and through Shakespeare with the theory and practice of criticism, in England, Germany, and France, from the 1760s in Germany to the aftermath of the Romanticism in France. It also discusses Shakespeare in the theatre of the period--realist stagings which prefigure Shakespeare films; adaptations which fitted Shakespeare to contemporary tastes; and bare-stage experiments which foreshadow modes of contemporary theatre. A chapter on scholarship in the period shows Shakespeare as central to modern editing and historical criticism. Much of the writing discussed is by men and women whose focus is not primarily critical but creative--poetry (Coleridge, Keats, Heine), fiction (Stendhal), drama (Lessing), or all three (Goethe, Hugo), cultural critique (Jameson, de Staël), philosophy (Hamann, Herder), politics (Hazlitt, Guizot), aesthetics (the Schlegel circle), or new original work in other media (Berlioz, Delacroix, Chassériau). It is writing directed to new modes of creating as well as new modes of understanding.

An interdisciplinary collection of essays exploring the complex and conflicted topic of beauty in cultural, arts and medicine, looking back through the long cultural history of beauty, and asking whether it is possible to 'recover beauty'.

First published in 1988, this book is a study of all Blake’s work in illuminated printing. It traces in particular, the development of his ideas on politics, religion, sexuality, and the imagination. There are substantial sections on some of Blake’s best-known works, including the Marriage of Heaven and Hell, and the Songs of Innocence and Experience, and full critical essays on the Four Zoas and Jerusalem. The book describes the historical contexts of Blake’s work, and sets it in relation to the political controversies of his age as these are reflected in the writings of Burke, Paine and Mary Wollstonecraft. It discusses the relationships of text and design in Blake, the characteristic verbal textures and rhythms of his longer poems, some influences on his thought, and developing structure of his personal myth and its relationship to other mythologies. The opening chapter discusses areas of fundamental disagreement with some of the main approaches to Blake whilst the final chapter discusses literary theory and the practice of criticism, arguing for an open and explicit involvement of personal experience and values and a more creative use of form in critical writing.

First published in 1988, this book is a study of all Blake’s work in illuminated printing. It traces in particular, the development of his ideas on politics, religion, sexuality, and the imagination. There are substantial sections on some of Blake’s best-known works, including the Marriage of Heaven and Hell, and the Songs of Innocence and Experience, and full critical essays on the Four Zoas and Jerusalem. The book describes the historical contexts of Blake’s work, and sets it in relation to the political controversies of his age as these are reflected in the writings of Burke, Paine and Mary Wollstonecraft. It discusses the relationships of text and design in Blake, the characteristic verbal textures and rhythms of his longer poems, some influences on his thought, and developing structure of his personal myth and its relationship to other mythologies. The opening chapter discusses areas of fundamental disagreement with some of the main approaches to Blake whilst the final chapter discusses literary theory and the practice of criticism, arguing for an open and explicit involvement of personal experience and values and a more creative use of form in critical writing.

"A fascinating and highly readable account." - Sir Stanley Wells"An outstanding, remarkable book." - Lisa S. Starks, University of South Florida, USAThis new and comprehensive study of Shakespearean ballets and their unique interpretive possibilities is also the first to foreground the importance of music to the aesthetics and meanings of Shakespeare dance-works.Organised around adaptations of key plays, each chapter offers close study of the contrasting interpretations and styles of a number of choreographers and illuminates issues of gender, sexuality, race and politics.While Shakespeare’s work is recreated in diverse forms in theatres all over the world, ballet is potentially one of the most international and inclusive forms of theatrical expression, based in the fundamental expressive potential of the body. Since it moved into the avant-garde more than a century ago, it has been in the forefront of invention and experiment in the theatrical arts and yet the hundreds of ballets which have been based on Shakespeare’s work have received scant attention in Shakespearean scholarship and criticism.David Fuller explores a wide range of Shakespeare’s oeuvre as it has been recreated in this form, with studies of ballets based on some of his most famous works, including The Taming of the Shrew, A Midsummer Night’s Dream, the Sonnets, Romeo and Juliet, Hamlet, Othello, Macbeth, and The Tempest. With analysis of productions from the 1940s to the present by British, American and European choreographers, it reads these as forms of creative criticism which reflect wider developments in society and in so doing show Shakespeare as perpetually contemporary.

Current norms of literary criticism tend to ignore ways in which literary experiences relate to life experience, and some ways in which literary experiences can be intensified and deepened. In this vibrant and controversial book, David Fuller seeks to recover the life in Shakespeare's sonnets, arguing that feeling and emotion, often ignored in criticism, should be central. He offers two ways of attempting this - first engaging with the poems through kinds of feeling fundamental to the young man sequence as presented in other kinds of writing and art - philosophy (Plato), poetry and visual art (Michelangelo), fiction (Mann), music (Britten), and film (Jarman). He then discusses reading the poems aloud, showing that dwelling in the words without translating them into other terms brings out their beauty and expressivity, and leads to fuller understanding of their form, structure, and meaning.

This is a passionately argued account of the value of experience and emotion in reading Shakespeare's sonnets and of the importance of reading poetry aloud. Current norms of literary criticism and education tend to ignore the ways in which literary experiences relate to life experience, and some of the ways in which literary experiences themselves can be intensified and deepened. In this vibrant and controversial book, David Fuller seeks to recover the life in Shakespeare's sonnets, arguing that, although feeling and emotion are often ignored in criticism, they should be central to literary experience. He offers two ways of attempting this - first engaging with the poems through the kinds of feeling that are fundamental to the young man sequence as these are presented in other kinds of writing and art - philosophy, poetry, visual art, fiction, music, and film.He then discusses how reading the poems aloud can offer one of the best ways of fully participating in properly engaged reading, showing that dwelling in the words without translating them into other terms allows us to bring out their beauty and expressivity, and ultimately to come to fuller understandings of their form, structure, and meaning. "Shakespeare Now!" is a series of short books that engage imaginatively and often provocatively with the possibilities of Shakespeare's plays. It goes back to the source - the most living language imaginable - and recaptures the excitement, audacity and surprise of Shakespeare. It will return you to the plays with opened eyes.

An English Medieval poem, a dream vision that is both a profoundly personal elegy for the dreamer's lost daughter and a subtle theological debate about the most difficult existential questions.

This open access book studies breath and breathing in literature and culture and provides crucial insights into the history of medicine, health and the emotions, the foundations of beliefs concerning body, spirit and world, the connections between breath and creativity and the phenomenology of breath and breathlessness.