Jonathan Hope – författare

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 Doyle A 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.

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 Doyle A 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 is nothing short of brilliant. It is bursting with new observations, pithy readings and sensitive analyses. One of Hope''s skills is to show us that ''language'' is not separable from ''ideas''; both are systems of representation. This is a book about words, conventions, artifice, mythology, innovation, reason, eloquence, silence, control, communication, selfhood, dialect, ''late style'' and much, much more. After reading Hope''s book you will never read Shakespeare in the same way.'' (Professor Laurie Maguire, Magdalen College, Oxford)

Our understanding of words, and how they get their meanings, relies on a stable spelling system and dictionary definitions - things which simply did not exist in the Renaissance. At that time, language was speech rather than writing; 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 fully appreciate Shakespeare''s wordplay and they also account for the rift that opened up between Shakespeare and us as language came to be regarded as essentially ''written''.

In Shakespeare and Language, Jonathan Hope considers the ideas about language that separate us from Shakespeare. His comprehensive study explores 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 contemporary ways of studying his language using computers.

''This book is nothing short of brilliant. It is bursting with new observations, pithy readings and sensitive analyses. One of Hope''s skills is to show us that ''language'' is not separable from ''ideas''; both are systems of representation. This is a book about words, conventions, artifice, mythology, innovation, reason, eloquence, silence, control, communication, selfhood, dialect, ''late style'' and much, much more. After reading Hope''s book you will never read Shakespeare in the same way.'' (Professor Laurie Maguire, Magdalen College, Oxford)

Our understanding of words, and how they get their meanings, relies on a stable spelling system and dictionary definitions - things which simply did not exist in the Renaissance. At that time, language was speech rather than writing; 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 fully appreciate Shakespeare''s wordplay and they also account for the rift that opened up between Shakespeare and us as language came to be regarded as essentially ''written''.

In Shakespeare and Language, Jonathan Hope considers the ideas about language that separate us from Shakespeare. His comprehensive study explores 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 contemporary ways of studying his language using computers.

This edited volume provides a biosemiotic analysis of the ecological relationship between food and medicine.  Drawing on the origins of semiotics in medicine, this collection proposes innovative ways of considering aliments and treatments. Considering the ever-evolving character of our understanding of meaning-making in biology, and considering the keen popular interest in issues relating to food and medicines - fueled by an increasing body of interdisciplinary knowledge - the contributions here provide diverse insights and arguments into the larger ecology of organisms’ engagement with and transformation through taking in matter. Bodies interpret molecules, enzymes, and alkaloids they intentionally and unintentionally come in contact with according to their pre-existing receptors. But their receptors are also changed by the experience. Once the body has identified a particular substance, it responds by initiating semiotic sequences and negotiations that fulfill vital functions for the organism at macro-, meso-, and micro-scales. 

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. Many of these substances also lack certain accompanying proteins, enzymes, and alkaloids that otherwise aid digestion or protect against side-effects in active extracted chemicals. Human biology has yet to catch up with human inventions such as supernormal foods and medicines that may flood receptors, overwhelming the body’s normal satiation mechanisms. This volume discusses how biosemioticians can come to terms with these networks of meaning, providing a valuable and provocative compendium for semioticians, medical researchers and practitioners, sociologists, cultural theorists, bioethicists and scholars investigating the interdisciplinary questions stemming from food and medicine.