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Thomas Middleton (1580-1627) - ''our other Shakespeare'' - is the only other Renaissance playwright who created lasting masterpieces of both comedy and tragedy; he also wrote the greatest box-office hit of early modern London (the unique history play A Game at Chess ). His range extends beyond these traditional genres to tragicomedies, masques, pageants, pamphlets, epigrams, and Biblical and political commentaries, written alone or in collaboration with Shakespeare,Webster, Dekker, Ford, Heywood, Rowley, and others. Compared by critics to Aristophanes and Ibsen, Racine and Joe Orton, he has influenced writers as diverse as Aphra Behn and T. S. Eliot. Though repeatedly censored in his own time, he has since come to be particularly admired for his representationsof the intertwined pursuits of sex, money, power, and God.The Oxford Middleton, prepared by more than sixty scholars from a dozen countries, follows the precedent of The Oxford Shakespeare in being published in two volumes, an innovative but accessible Collected Works and a comprehensive scholarly Companion. Though closely connected, each volume can be used independently of the other.The Collected Works brings together for the first time in a single volume all the works currently attributed to Middleton. It is the first edition of Middleton''s works since 1886. The texts are printed in modern spelling and punctuation, with critical introductions and foot-of-the-page commentaries; they are arranged in chronological order, with a special section of Juvenilia. The volume is introduced by essays on Middleton''s life and reputation, on early modern London, and on the variedtheatres of the English Renaissance. Extensively illustrated, it incorporates much new information on Middleton''s life, canon, texts, and contexts. A self-consciously ''federal edition'', The Collected Works applies contemporary theories about the nature of literature and the history of the book to editorialpractice.
Häftad, Engelska, 2010
714 kr
Skickas inom 5-8 vardagar
Thomas Middleton (1580-1627) - 'our other Shakespeare' - is the only other Renaissance playwright who created lasting masterpieces of both comedy and tragedy; he also wrote the greatest box-office hit of early modern London (the unique history play A Game at Chess ). His range extends beyond these traditional genres to tragicomedies, masques, pageants, pamphlets, epigrams, and Biblical and political commentaries, written alone or in collaboration with Shakespeare, Webster, Dekker, Ford, Heywood, Rowley, and others. Compared by critics to Aristophanes and Ibsen, Racine and Joe Orton, he has influenced writers as diverse as Aphra Behn and T. S. Eliot. Though repeatedly censored in his own time, he has since come to be particularly admired for his representations of the intertwined pursuits of sex, money, power, and God.The Oxford Middleton, prepared by more than sixty scholars from a dozen countries, follows the precedent of The Oxford Shakespeare in being published in two volumes, an innovative but accessible Collected Works and a comprehensive scholarly Companion. Though closely connected, each volume can be used independently of the other.The Collected Works brings together for the first time in a single volume all the works currently attributed to Middleton. It is the first edition of Middleton's works since 1886. The texts are printed in modern spelling and punctuation, with critical introductions and foot-of-the-page commentaries; they are arranged in chronological order, with a special section of Juvenilia. The volume is introduced by essays on Middleton's life and reputation, on early modern London, and on the varied theatres of the English Renaissance. Extensively illustrated, it incorporates much new information on Middleton's life, canon, texts, and contexts. A self-consciously 'federal edition', The Collected Works applies contemporary theories about the nature of literature and the history of the book to editorial practice.
Häftad, Engelska, 2013
806 kr
Skickas inom 5-8 vardagar
Thomas Middleton and Early Modern Textual Culture is not only a companion to The Collected Works of Thomas Middleton, which every scholar of Renaissance literature will find indispensable. It is also essential reading for anyone interested in the history of the book in early modern Europe. The book is divided into two parts. The first part, on 'The Culture', situates Middleton within an historical and theoretical overview of early modern textual production, reproduction, circulation, and reception. An introductory essay by Gary Taylor ('The Order of Persons') surveys lists of persons written by or connected to Middleton, using the complex relationship between textual and social orders to trace the evolution of textual culture in England during the 'Middleton century' (1580-1679). Ten original essays then focus on Middleton's connections to different aspects of textual culture in that century: authorship (by MacD. P. Jackson), manuscripts (Harold Love), legal texts (Edward Geiskes), censorship (Richard Burt), printing (Adrian Weiss), visual texts (John Astington), music (Andrew Sabol), stationers and living authors (Cyndia Clegg), posthumous publishing (Maureen Bell), and early readers (John Jowett). The second part, 'The Texts', supplies the documentation for claims made in the first part. This includes detailed evidence for the canon and chronology of Middleton's works in all genres, greatly extending previous scholarship, and using the latest corpus-based attribution techniques. A full editorial apparatus is supplied for each item in The Collected Works: an Introduction, which summarizes and extends previous scholarship, is followed by textual notes, recording substantive departures from the control-text, variants between early texts, press-variants, discussions of emendations, and (for plays) an exact transcription of all original stage directions. Cross-references make it easy to move between the two volumes. This authoritative account of the early texts includes some extraordinarily complicated cases, which have never before been systematically collated: 'Hence, all you vain delights' (the most popular song lyric from the Renaissance stage), The Two Gates of Salvation, The Peacemaker, and A Game at Chess (the most complex editorial problem in early modern drama, with eight extant texts and numerous reports of the early performances).