Laurence Publicover – författare

Focusing on early modern plays which stage encounters between peoples of different cultures, this book asks how a sense of geographical location was created in early modern theatres that featured minimal scenery. While previous studies have stressed these plays'' connections to a historical Mediterranean in which England was increasingly involved, this volume demonstrates how their dramatic geography was shaped through a literary and theatrical heritage.Reading canonical plays including The Merchant of Venice, The Jew of Malta, and The Tempest alongside lesser-known dramas such as Soliman and Perseda, Guy of Warwick, and The Travels of the Three English Brothers, Dramatic Geography illustrates how early modern dramatists staging foreign worlds drew upon a romance tradition dating back to the medieval period, and how they responded to one another''s plays to create an''intertheatrical geography''. These strategies shape the plays'' wider meanings in important ways, and could only have operated within the theatrical environment peculiar to early modern London: one in which playwrights worked in close proximity, in one instance perhaps even living together while composing Mediterranean dramas, and one where they could expect audiences torespond to subtle generic and intertextual negotiations. In reassessing this group of plays, Laurence Publicover brings into conversation scholarship on theatre history, cultural encounter, and literary geography; the book also contributes to current debates in early modern studies regarding the nature of dramatic authorship, the relationship between genre and history, and the continuities that run between the fourteenth and seventeenth centuries.

Focusing on early modern plays which stage encounters between peoples of different cultures, this book asks how a sense of geographical location was created in early modern theatres that featured minimal scenery. While previous studies have stressed these plays'' connections to a historical Mediterranean in which England was increasingly involved, this volume demonstrates how their dramatic geography was shaped through a literary and theatrical heritage.Reading canonical plays including The Merchant of Venice, The Jew of Malta, and The Tempest alongside lesser-known dramas such as Soliman and Perseda, Guy of Warwick, and The Travels of the Three English Brothers, Dramatic Geography illustrates how early modern dramatists staging foreign worlds drew upon a romance tradition dating back to the medieval period, and how they responded to one another''s plays to create an''intertheatrical geography''. These strategies shape the plays'' wider meanings in important ways, and could only have operated within the theatrical environment peculiar to early modern London: one in which playwrights worked in close proximity, in one instance perhaps even living together while composing Mediterranean dramas, and one where they could expect audiences torespond to subtle generic and intertextual negotiations. In reassessing this group of plays, Laurence Publicover brings into conversation scholarship on theatre history, cultural encounter, and literary geography; the book also contributes to current debates in early modern studies regarding the nature of dramatic authorship, the relationship between genre and history, and the continuities that run between the fourteenth and seventeenth centuries.

Focusing on early modern plays which stage encounters between peoples of different cultures, this book asks how a sense of geographical location was created in early modern theatres that featured minimal scenery. While previous studies have stressed these plays' connections to a historical Mediterranean in which England was increasingly involved, this volume demonstrates how their dramatic geography was shaped through a literary and theatrical heritage. Reading canonical plays including The Merchant of Venice, The Jew of Malta, and The Tempest alongside lesser-known dramas such as Soliman and Perseda, Guy of Warwick, and The Travels of the Three English Brothers, Dramatic Geography illustrates how early modern dramatists staging foreign worlds drew upon a romance tradition dating back to the medieval period, and how they responded to one another's plays to create an 'intertheatrical geography'. These strategies shape the plays' wider meanings in important ways, and could only have operated within the theatrical environment peculiar to early modern London: one in which playwrights worked in close proximity, in one instance perhaps even living together while composing Mediterranean dramas, and one where they could expect audiences to respond to subtle generic and intertextual negotiations. In reassessing this group of plays, Laurence Publicover brings into conversation scholarship on theatre history, cultural encounter, and literary geography; the book also contributes to current debates in early modern studies regarding the nature of dramatic authorship, the relationship between genre and history, and the continuities that run between the fourteenth and seventeenth centuries.

This book demonstrates how a group of tragedies by Shakespeare and his contemporaries stage the fear and exhilaration generated by encounters with the unknown and the extraordinary. Arguing that the maritime art of fathoming--that is, dropping a lead and line into water to measure its depth--operates as a master-image for these plays, it illustrates how they create sublime horror through intuitions of mysterious more-than-human agencies and of worlds beyond the visible. Though tightly focused on a specific body of imagery, the book strikes up dialogue with a number of critical fields, including theories and histories of tragedy; ecocriticism and the environmental humanities; oceanic studies; and work on early modern ideas about the body, madness, and language. Countering a tendency within tragic theory to value the textual over the dramatic, it also demonstrates how the tragic effects to which it points are created through specific theatrical strategies, including the use of offstage space, intertheatricality, and the violation of dramatic conventions. Situating its arguments within recent criticism on these plays and on tragedy more generally, and pushing back against scholarship that regards the genre in Shakespeare's time as concerned more with pity than with fear, the book offers fresh and detailed readings of some of the most frequently studied plays in the English canon, including Hamlet, King Lear, Macbeth, The Duchess of Malfi, and The Changeling.

This book demonstrates how a group of tragedies by Shakespeare and his contemporaries stage the fear and exhilaration generated by encounters with the unknown and the extraordinary. Arguing that the maritime art of fathoming--that is, dropping a lead and line into water to measure its depth--operates as a master-image for these plays, it illustrates how they create sublime horror through intuitions of mysterious more-than-human agencies and of worlds beyond the visible. Though tightly focused on a specific body of imagery, the book strikes up dialogue with a number of critical fields, including theories and histories of tragedy; ecocriticism and the environmental humanities; oceanic studies; and work on early modern ideas about the body, madness, and language. Countering a tendency within tragic theory to value the textual over the dramatic, it also demonstrates how the tragic effects to which it points are created through specific theatrical strategies, including the use of offstage space, intertheatricality, and the violation of dramatic conventions. Situating its arguments within recent criticism on these plays and on tragedy more generally, and pushing back against scholarship that regards the genre in Shakespeare's time as concerned more with pity than with fear, the book offers fresh and detailed readings of some of the most frequently studied plays in the English canon, including Hamlet, King Lear, Macbeth, The Duchess of Malfi, and The Changeling.

This book demonstrates how a group of tragedies by Shakespeare and his contemporaries stage the fear and exhilaration generated by encounters with the unknown and the extraordinary. Arguing that the maritime art of fathoming--that is, dropping a lead and line into water to measure its depth--operates as a master-image for these plays, it illustrates how they create sublime horror through intuitions of mysterious more-than-human agencies and of worlds beyond the visible. Though tightly focused on a specific body of imagery, the book strikes up dialogue with a number of critical fields, including theories and histories of tragedy; ecocriticism and the environmental humanities; oceanic studies; and work on early modern ideas about the body, madness, and language. Countering a tendency within tragic theory to value the textual over the dramatic, it also demonstrates how the tragic effects to which it points are created through specific theatrical strategies, including the use of offstage space, intertheatricality, and the violation of dramatic conventions. Situating its arguments within recent criticism on these plays and on tragedy more generally, and pushing back against scholarship that regards the genre in Shakespeare's time as concerned more with pity than with fear, the book offers fresh and detailed readings of some of the most frequently studied plays in the English canon, including Hamlet, King Lear, Macbeth, The Duchess of Malfi, and The Changeling.

Uncovers human histories, cultures, and politics on the ocean floor.While often characterized as an alien realm, the seabed has long been fundamental to human life. As new technologies offer ever greater access to this environment, the bottom of the ocean is key to debates about our future—and yet we are poorly equipped to understand our relation to it.The Seabed plumbs the ocean’s depths to reveal a rich and complex history of human activity at the seafloor, a history that extends from the classical world to the present. Jimmy Packham and Laurence Publicover highlight the literary significance of the seabed, examining works by writers including Aphra Behn, Anton Chekhov, Euripides, Herman Melville, M. NourbeSe Philip, William Shakespeare, Derek Walcott, and H. G. Wells, as well as lesser-known authors who have imagined this dark and mysterious realm. Putting these in dialogue with the science writing of Rachel Carson, Sylvia Earle, and others, and with visual art, politics, and historical case studies, they show how imaginative speculations concerning the ocean floor have influenced, and continue to inform, human activity on the seabed itself. Through chapters that explore sea burial and seafloor memorials, scientific exploration, deep-sea infrastructure, salvage from the seabed, and deep-sea extraction, the book reveals that the ocean floor’s cultural visibility has fluctuated over time. But longstanding visions of the seabed continue to shape our relationship with this place, a site for undersea cables and—in the near future—deep-sea mining.The bottom of the ocean is closer than we think. Understanding our history there is crucial to assessing the present and imagining our future.

Uncovers human histories, cultures, and politics on the ocean floor.While often characterized as an alien realm, the seabed has long been fundamental to human life. As new technologies offer ever greater access to this environment, the bottom of the ocean is key to debates about our future—and yet we are poorly equipped to understand our relation to it.The Seabed plumbs the ocean’s depths to reveal a rich and complex history of human activity at the seafloor, a history that extends from the classical world to the present. Jimmy Packham and Laurence Publicover highlight the literary significance of the seabed, examining works by writers including Aphra Behn, Anton Chekhov, Euripides, Herman Melville, M. NourbeSe Philip, William Shakespeare, Derek Walcott, and H. G. Wells, as well as lesser-known authors who have imagined this dark and mysterious realm. Putting these in dialogue with the science writing of Rachel Carson, Sylvia Earle, and others, and with visual art, politics, and historical case studies, they show how imaginative speculations concerning the ocean floor have influenced, and continue to inform, human activity on the seabed itself. Through chapters that explore sea burial and seafloor memorials, scientific exploration, deep-sea infrastructure, salvage from the seabed, and deep-sea extraction, the book reveals that the ocean floor’s cultural visibility has fluctuated over time. But longstanding visions of the seabed continue to shape our relationship with this place, a site for undersea cables and—in the near future—deep-sea mining.The bottom of the ocean is closer than we think. Understanding our history there is crucial to assessing the present and imagining our future.

The essays collected within this volume ask how literary practices are shaped by the experience of being at sea—and also how they forge that experience. Individual chapters explore the literary worlds of naval ships, whalers, commercial vessels, emigrant ships, and troop transports from the seventeenth to the twentieth-first century, revealing a rich history of shipboard reading, writing, and performing. Contributors are interested both in how literary activities adapt to the maritime world, and in how individual and collective shipboard experiences are structured through—and framed by—such activities. In this respect, the volume builds on scholarship that has explored reading as a spatially situated and embodied practice. As our contributors demonstrate, the shipboard environment and the ocean beyond it place the mind and body under peculiar forms of pressure, and these determine acts of reading—and of writing and performing—in specific ways.

The essays collected within this volume ask how literary practices are shaped by the experience of being at sea—and also how they forge that experience. Individual chapters explore the literary worlds of naval ships, whalers, commercial vessels, emigrant ships, and troop transports from the seventeenth to the twentieth-first century, revealing a rich history of shipboard reading, writing, and performing. Contributors are interested both in how literary activities adapt to the maritime world, and in how individual and collective shipboard experiences are structured through—and framed by—such activities. In this respect, the volume builds on scholarship that has explored reading as a spatially situated and embodied practice. As our contributors demonstrate, the shipboard environment and the ocean beyond it place the mind and body under peculiar forms of pressure, and these determine acts of reading—and of writing and performing—in specific ways.