Mark Kaethler – författare

The authors of this book ask how digital research tools are changing the ways in which practicing editors historicize Shakespeare''s language. Scholars now encounter, interpret, and disseminate Shakespeare''s language through an increasing variety of digital resources, including online editions such as the Internet Shakespeare Editions (ISE), searchable lexical corpora such as the Early English Books Online-Text Creation Partnership (EEBO-TCP) or the Lexicons of Early Modern English (LEME) collections, high-quality digital facsimiles such as the Folger Shakespeare Library''s Digital Image Collection, text visualization tools such as Voyant, apps for reading and editing on mobile devices, and more.

What new insights do these tools offer about the ways Shakespeare''s words made meaning in their own time? What kinds of historical or historicizing arguments can digital editions make about Shakespeare''s language? A growing body of work in the digital humanities allows textual critics to explore new approaches to editing in digital environments, and enables language historians to ask and answer new questions about Shakespeare''s words. The authors in this unique book explicitly bring together the two fields of textual criticism and language history in an exploration of the ways in which new tools are expanding our understanding of Early Modern English.

The authors of this book ask how digital research tools are changing the ways in which practicing editors historicize Shakespeare''s language. Scholars now encounter, interpret, and disseminate Shakespeare''s language through an increasing variety of digital resources, including online editions such as the Internet Shakespeare Editions (ISE), searchable lexical corpora such as the Early English Books Online-Text Creation Partnership (EEBO-TCP) or the Lexicons of Early Modern English (LEME) collections, high-quality digital facsimiles such as the Folger Shakespeare Library''s Digital Image Collection, text visualization tools such as Voyant, apps for reading and editing on mobile devices, and more.

What new insights do these tools offer about the ways Shakespeare''s words made meaning in their own time? What kinds of historical or historicizing arguments can digital editions make about Shakespeare''s language? A growing body of work in the digital humanities allows textual critics to explore new approaches to editing in digital environments, and enables language historians to ask and answer new questions about Shakespeare''s words. The authors in this unique book explicitly bring together the two fields of textual criticism and language history in an exploration of the ways in which new tools are expanding our understanding of Early Modern English.

Thomas Middleton and the Plural Politics of Jacobean Drama represents the first sustained study of Middleton’s dramatic works as responses to James I’s governance. Through examining Middleton’s poiesis in relation to the political theology of Jacobean London, Kaethler explores early forms of free speech, namely parrhēsia, and rhetorical devices, such as irony and allegory, to elucidate the ways in which Middleton’s plural art exposes the limitations of the monarch’s sovereign image. By drawing upon earlier forms of dramatic intervention, James’s writings, and popular literature that blossomed during the Jacobean period, including news pamphlets, the book surveys a selection of Middleton’s writings, ranging from his first extant play The Phoenix (1604) to his scandalous finale A Game at Chess (1624). In the course of this investigation, the author identifies that although Middleton’s drama spurs political awareness and questions authority, it nevertheless simultaneously promotes alternative structures of power, which manifest as misogyny and white supremacy.

Thomas Middleton and the Plural Politics of Jacobean Drama represents the first sustained study of Middleton’s dramatic works as responses to James I’s governance. Through examining Middleton’s poiesis in relation to the political theology of Jacobean London, Kaethler explores early forms of free speech, namely parrhēsia, and rhetorical devices, such as irony and allegory, to elucidate the ways in which Middleton’s plural art exposes the limitations of the monarch’s sovereign image. By drawing upon earlier forms of dramatic intervention, James’s writings, and popular literature that blossomed during the Jacobean period, including news pamphlets, the book surveys a selection of Middleton’s writings, ranging from his first extant play The Phoenix (1604) to his scandalous finale A Game at Chess (1624). In the course of this investigation, the author identifies that although Middleton’s drama spurs political awareness and questions authority, it nevertheless simultaneously promotes alternative structures of power, which manifest as misogyny and white supremacy.

Commonly used as a rallying cry for general approaches to literary studies, the imagination has until recently been overwritten with romantic and modernist inflections that impede our understanding of literature’s intimate involvement in early modern cognition. To recover the pre-Cartesian imagination, this collection of essays takes a historicist approach by situating literary texts within the embodied and ensouled faculty system. Image-making and fantasizing were not autonomous activities but belonged to a greater cognitive ecosystem, which the volume’s four sections reflect: “The Visual Imagination,” “Sensory and Affective Imaginings,” “Artifice and the Mnemonic Imagination,” and “Higher Imaginings.” Together they accentuate the imagination’s interdependency and friction with other faculties. Ultimately, the volume’s attention to the embodied imagination gives scholars new perspectives on literary and image production in the writings of Spenser, Shakespeare, Donne, and their contemporaries.