Jonathan Hope - Böcker

The Politics of Tragicomedy: Shakespeare and After offers a series of sophisticated and powerful readings of tragicomedy from Shakespeare’s late plays to the drama of the Interregnum. Rejecting both the customary chronological span bounded by the years 1603-42 (which presumes dramatic activity stopped with the closing of the theatres) and the negative critical attitudes that have dogged the study of tragicomedy, the essays in this collection examine a series of issues central to the possibility of a politics for the genre.Individual essays offer important contributions to continuing debates over the role of the drama in the years preceding the Civil War, the colonial contexts of The Tempest, the political character of Jonson’s late plays, and the agency of women as public and theatre actors. The introduction presents a strong challenge to previous definitions of tragicomedy in the English context, and the collection as a whole is characterized by its rejection of absolutist strategies for reading tragicomedy. This collection will prove essential reading for all with an interest in the politics of Renaissance drama; for specialists in the work of Shakespeare, Fletcher, and Jonson; for those interested in genre and dramatic forms; and for historians of early Stuart England.

The Politics of Tragicomedy: Shakespeare and After offers a series of sophisticated and powerful readings of tragicomedy from Shakespeare’s late plays to the drama of the Interregnum. Rejecting both the customary chronological span bounded by the years 1603-42 (which presumes dramatic activity stopped with the closing of the theatres) and the negative critical attitudes that have dogged the study of tragicomedy, the essays in this collection examine a series of issues central to the possibility of a politics for the genre.Individual essays offer important contributions to continuing debates over the role of the drama in the years preceding the Civil War, the colonial contexts of The Tempest, the political character of Jonson’s late plays, and the agency of women as public and theatre actors. The introduction presents a strong challenge to previous definitions of tragicomedy in the English context, and the collection as a whole is characterized by its rejection of absolutist strategies for reading tragicomedy. This collection will prove essential reading for all with an interest in the politics of Renaissance drama; for specialists in the work of Shakespeare, Fletcher, and Jonson; for those interested in genre and dramatic forms; and for historians of early Stuart England.

Using a wide range of twentieth-century literary prose Laura Wright and Jonathan Hope provide an `interactive' introduction to the techniques of stylistic analysis. Divided up into five sections; the noun phrase, the verb phrase, the clause, text structure and vocabulary, the book also provides an introduction to the basics of descriptive grammar for beginning students.* Presumes no prior linguistic knowledge* Provides a comprehensive glossary of terms* Adaptable: designed to be used in a variety of classroom contexts* Introduces students to an enormous range of 20th century literature from James Joyce to Roddy DoyleA practical coursebook rather than a survey account of stylistics as a discipline, the book provides over forty opportunities for hands-on stylistic analysis. For each linguistic feature under discussion the reader is offered a definition, a text for analysis, exercises and tasks, in addition to a suggested solution.Stylistics: A Practical Coursebook is genuinely `student friendly' and will be an invaluable tool for all beginning undergraduates and A-level students of language and literature.

This book introduces a method for determining the authorship of Renaissance plays. Based on the rapid rate of change in English grammar in the late sixteenth- and early-seventeenth centuries, socio-historical linguistic evidence allows us to distinguish the hands of Renaissance playwrights within play texts. The present study focuses on Shakespeare: his collaborations with Fletcher and Middleton; and the apocryphal plays. Among the plays examined are Henry VIII, The Two Noble Kinsmen, Macbeth, Pericles and Sir Thomas More. The findings of the book allow us to be more confident about the divisions of the collaborative plays, and confirm the status of Edward III as a strong candidate for inclusion in the canon. Using graphs to present statistical data in a readily comprehensible form, the book also contains a wealth of information about the history of the English language during a period of rapid and far-reaching change.

This book introduces a method for determining the authorship of Renaissance plays. Based on the rapid rate of change in English grammar in the late sixteenth- and early-seventeenth centuries, socio-historical linguistic evidence allows us to distinguish the hands of Renaissance playwrights within play texts. The present study focuses on Shakespeare: his collaborations with Fletcher and Middleton; and the apocryphal plays. Among the plays examined are Henry VIII, The Two Noble Kinsmen, Macbeth, Pericles and Sir Thomas More. The findings of the book allow us to be more confident about the divisions of the collaborative plays, and confirm the status of Edward III as a strong candidate for inclusion in the canon. Using graphs to present statistical data in a readily comprehensible form, the book also contains a wealth of information about the history of the English language during a period of rapid and far-reaching change.

Using a wide range of twentieth-century literary prose Laura Wright and Jonathan Hope provide an `interactive' introduction to the techniques of stylistic analysis. Divided up into five sections; the noun phrase, the verb phrase, the clause, text structure and vocabulary, the book also provides an introduction to the basics of descriptive grammar for beginning students.* Presumes no prior linguistic knowledge* Provides a comprehensive glossary of terms* Adaptable: designed to be used in a variety of classroom contexts* Introduces students to an enormous range of 20th century literature from James Joyce to Roddy DoyleA practical coursebook rather than a survey account of stylistics as a discipline, the book provides over forty opportunities for hands-on stylistic analysis. For each linguistic feature under discussion the reader is offered a definition, a text for analysis, exercises and tasks, in addition to a suggested solution.Stylistics: A Practical Coursebook is genuinely `student friendly' and will be an invaluable tool for all beginning undergraduates and A-level students of language and literature.

What can developments in contemporary linguistics and language theory reveal about Shakespeare’s language in the plays? Shakespeare’s Common Language demonstrates how methods borrowed from language criticism can illuminate the surprising expressive force of Shakespeare’s common words. With chapters focused on different approaches based in language theory, the book analyses language change in Coriolanus; discourse analysis in Troilus and Cressida; pragmatics in Richard II; and various aspects of grammar in As You Like It. In mapping the tools of linguistics and language theory onto the study of literature, and employing finely-grained close readings of dialogue, Shakespeare’s Common Language frames a methodology that offers a fresh approach to reading dramatic language.

Why do we continue to experience many of Shakespeare’s dramatic characters as real people with personal histories, individual personalities, and psychological depth? What is it that makes Falstaff seem to jump off the page, and what gives Hamlet his complexity? Shakespearean Character: Language in Performance examines how the extraordinary lifelikeness of some of Shakespeare’s most enigmatic and self-conscious characters is produced through language. Using theories drawn from linguistic pragmatics, this book claims that our impression of characters as real people is an effect arising from characters’ pragmatic use of language in combination with the historical and textual meanings that Shakespeare conveys to his audience by dramatic and meta-dramatic means. Challenging the notion of interiority attributed to Shakespeare’s characters by many contemporary critics, theatre professionals, and audiences, the book demonstrates that dramatic characters possess anteriority which gives us the impression that they exist outside of— and prior to— the play-texts as real people. Jelena Marelj's study examines five linguistically self-conscious characters drawn from the genres of history, tragedy and comedy, which continue to be subjects of extensive critical debate: Falstaff, Cleopatra, Henry V, Katherine from The Taming of the Shrew, and Hamlet. She shows that by inferring Shakespeare’s intentions through his characters’ verbal exchanges and the discourses of the play, the audience becomes emotionally involved with or repulsed by characters and it is this emotional response that makes these characters strikingly memorable and intimately human. Shakespearean Character will equip readers for further work on the genealogy of Shakespearean character, including minor characters, stock characters, and allegorical characters.

Why do we continue to experience many of Shakespeare’s dramatic characters as real people with personal histories, individual personalities, and psychological depth? What is it that makes Falstaff seem to jump off the page, and what gives Hamlet his complexity? Shakespearean Character: Language in Performance examines how the extraordinary lifelikeness of some of Shakespeare’s most enigmatic and self-conscious characters is produced through language. Using theories drawn from linguistic pragmatics, this book claims that our impression of characters as real people is an effect arising from characters’ pragmatic use of language in combination with the historical and textual meanings that Shakespeare conveys to his audience by dramatic and meta-dramatic means. Challenging the notion of interiority attributed to Shakespeare’s characters by many contemporary critics, theatre professionals, and audiences, the book demonstrates that dramatic characters possess anteriority which gives us the impression that they exist outside of— and prior to— the play-texts as real people. Jelena Marelj's study examines five linguistically self-conscious characters drawn from the genres of history, tragedy and comedy, which continue to be subjects of extensive critical debate: Falstaff, Cleopatra, Henry V, Katherine from The Taming of the Shrew, and Hamlet. She shows that by inferring Shakespeare’s intentions through his characters’ verbal exchanges and the discourses of the play, the audience becomes emotionally involved with or repulsed by characters and it is this emotional response that makes these characters strikingly memorable and intimately human. Shakespearean Character will equip readers for further work on the genealogy of Shakespearean character, including minor characters, stock characters, and allegorical characters.

What led Shakespeare to write his most cryptic poem, ‘The Phoenix and Turtle’? Could the Phoenix represent Queen Elizabeth, on the verge of death as Shakespeare wrote? Is the Earl of Essex, recently executed for treason, the Turtledove lover of the Phoenix? Questions such as these dominate scholarship of both Shakespeare’s poem and the book in which it first appeared: Robert Chester’s enigmatic collection of verse, Love’s Martyr (1601), where Shakespeare’s allegory sits next to erotic love lyrics by Ben Jonson, George Chapman and John Marston, as well as work by the much lesser-known Chester.Don Rodrigues critiques and revises traditional computational attribution studies by integrating the insights of queer theory to a study of Love's Martyr. A book deeply engaged in current debates in computational literary studies, it is particularly attuned to questions of non-normativity, deviation and departures from style when assessing stylistic patterns. Gathering insights from decades of computational and traditional analyses, it presents, most radically, data that supports the once-outlandish theory that Shakespeare may have had a significant hand in editing works signed by Chester. At the same time, this book insists on the fundamentally collaborative nature of production in Love’s Martyr.Developing a compelling account of how collaborative textual production could work among early modern writers, Shakespeare’s Queer Analytics is a much-needed methodological intervention in computational attribution studies. It articulates what Rodrigues describes as ‘queer analytics’: an approach to literary analysis that joins the non-normative close reading of queer theory to the distant attention of computational literary studies – highlighting patterns that traditional readings often overlook or ignore.

A comparative reference guide to Shakespeare's grammar, based on a complete revision of an extremely elderly but still much-cited volume, Abbott's Shakespearean Grammar, first published in 1869 and still regarded by default as an essential component of Shakespeare research. This volume meets the identified need for an authoritative and systematic grammar of Shakespeare which takes account both of current linguistic developments and of the current state of knowledge about Early Modern English and enable editors and readers both to understand and to contextualise Shakespeare's use and manipulation of language, i.e. to locate it in the context of other writings in Early Modern English.'Should be an essential reference tool not only for Shakespeare editors but for university and school teachers' ' Professor Ernst Honigmann, editor of Arden 3 Othello'...should become part of every reader's, and certainly every teacher's, arsenal of central reference books' - Ruth Morse, Shakespeare Survey

'Much drink may be said to be an equivocator with lechery: it makes him, and it mars him; it sets him on, and it takes him off; it persuades him, and disheartens him; makes him stand to, and not stand to: in conclusion, equivocates him in a sleep, and, giving him the lie, leaves him.' Porter, Macbeth, II i. Why would Elizabethan audiences find Shakespeare's Porter in Macbeth so funny? And what exactly is meant by the name the 'Weird' Sisters? Jonathan Hope, in a comprehensive and fascinating study, looks at how the concept of words meant something entirely different to Elizabethan audiences than they do to us today. In Shakespeare and Language: Reason, Eloquence and Artifice in the Renaissance, he traces the ideas about language that separate us from Shakespeare. Our understanding of 'words', and how they get their meanings, based on a stable spelling system and dictionary definitions, simply does not hold. Language in the Renaissance was speech rather than writing - for most writers at the time, a 'word' was by definition a collection of sounds, not letters - and the consequences of this run deep.They explain our culture's inability to appreciate Shakespeare's wordplay, and suggest that a rift opened up in the seventeenth century as language came to be regarded as essentially 'written'. The book also considers the visual iconography of language in the Renaissance, the influence of the rhetorical tradition, the extent to which Shakespeare's late style is driven by a desire to increase the subjective content of the text, and new ways of studying Shakespeare's language using computers. As such it will be of great interest to all serious students and teachers of Shakespeare. Despite the complexity of its subject matter, the book is accessibly written with an undergraduate readership in mind.

This edited volume provides a biosemiotic analysis of the ecological relationship between food and medicine. Human abilities to distill and extract the living world into highly refined foods and medicines, however, have created substances far more potent than their counterparts in our historical evolution.

This edited volume provides a biosemiotic analysis of the ecological relationship between food and medicine. Human abilities to distill and extract the living world into highly refined foods and medicines, however, have created substances far more potent than their counterparts in our historical evolution.