Richard Dutton – författare

Shakespeare, Court Dramatist centres around the contention that the courts of both Elizabeth I and James I loomed much larger in Shakespeare''s creative life than is usually appreciated. Richard Dutton argues that many, perhaps most, of Shakespeare''s plays have survived in versions adapted for court presentation, where length was no object (and indeed encouraged) and rhetorical virtuosity was appreciated. The first half of the study examines the court''s patronageof the theatre during Shakespeare''s lifetime and the crucial role of its Masters of the Revels, who supervised all performances there (as well as censoring plays for public performance). Dutton examines the emergence of the Lord Chamberlain''s Men and the King''s Men, to whom Shakespeare was attached astheir ''ordinary poet'', and reviews what is known about the revision of plays in the early modern period. The second half of the study focuses in detail on six of Shakespeare''s plays which exist in shorter, less polished texts as well as longer, more familiar ones: Henry VI Part II and III, Romeo and Juliet, Henry V, Hamlet, and The Merry Wives of Windsor. Dutton argues that they are not cut down from those familiar versions, but poorly reported originals which Shakespeare revised for courtperformance into what we know best today. More localized revisions in such plays as Titus Andronicus, Richard II, and Henry IV Part II can also best be explained in this context. The court, Richard Dutton argues, is what made Shakespeare Shakespeare.

Shakespeare, Court Dramatist centres around the contention that the courts of both Elizabeth I and James I loomed much larger in Shakespeare''s creative life than is usually appreciated. Richard Dutton argues that many, perhaps most, of Shakespeare''s plays have survived in versions adapted for court presentation, where length was no object (and indeed encouraged) and rhetorical virtuosity was appreciated. The first half of the study examines the court''s patronageof the theatre during Shakespeare''s lifetime and the crucial role of its Masters of the Revels, who supervised all performances there (as well as censoring plays for public performance). Dutton examines the emergence of the Lord Chamberlain''s Men and the King''s Men, to whom Shakespeare was attached astheir ''ordinary poet'', and reviews what is known about the revision of plays in the early modern period. The second half of the study focuses in detail on six of Shakespeare''s plays which exist in shorter, less polished texts as well as longer, more familiar ones: Henry VI Part II and III, Romeo and Juliet, Henry V, Hamlet, and The Merry Wives of Windsor. Dutton argues that they are not cut down from those familiar versions, but poorly reported originals which Shakespeare revised for courtperformance into what we know best today. More localized revisions in such plays as Titus Andronicus, Richard II, and Henry IV Part II can also best be explained in this context. The court, Richard Dutton argues, is what made Shakespeare Shakespeare.

Mastering the Revels traces the measures taken by the governments of Elizabeth I, James I, and Charles I to regulate the new phenomenon of fixed playhouses and resident playing companies in London, and to censor their plays. It focuses on the Masters of the Revels, whose primary function was to seek out theatrical entertainment for the court but whose role expanded to include oversight of the players and their playhouses. The book proceeds chronologically, tracking each of the Masters in the period--Edmund Tilney (served 1579-1610), Sir George Buc (1610-22), Sir John Astley (1622-3), and Sir Henry Herbert (1623-1642). Tilney was the first to receive a Special Commission giving him wide-ranging powers over the players. When Buc first became involved is examined here in detail, as is the parallel history of the Children of the Queen''s Revels who between 1604 and 1608 staged some of the most scandalous plays of the era. Astley succeeded Buc, but soon sold the office to Herbert, who then served to the closing of the theatres.Manuscripts of plays censored by Tilney, Buc, and Herbert have survived and are examined in detail to assess their concerns. Large parts of Herbert''s office-book have also survived, giving detailed insights into his professional life, including interactions with both the court and the players. It reveals the difficulties he faced negotiating recurrent popular pressure for war against Spain, resistance to Archbishop Laud''s reforms of the church, and Henrietta Maria''s problematic presence as a Catholic queen to Charles I.

Mastering the Revels traces the measures taken by the governments of Elizabeth I, James I, and Charles I to regulate the new phenomenon of fixed playhouses and resident playing companies in London, and to censor their plays. It focuses on the Masters of the Revels, whose primary function was to seek out theatrical entertainment for the court but whose role expanded to include oversight of the players and their playhouses. The book proceeds chronologically, tracking each of the Masters in the period--Edmund Tilney (served 1579-1610), Sir George Buc (1610-22), Sir John Astley (1622-3), and Sir Henry Herbert (1623-1642). Tilney was the first to receive a Special Commission giving him wide-ranging powers over the players. When Buc first became involved is examined here in detail, as is the parallel history of the Children of the Queen''s Revels who between 1604 and 1608 staged some of the most scandalous plays of the era. Astley succeeded Buc, but soon sold the office to Herbert, who then served to the closing of the theatres.Manuscripts of plays censored by Tilney, Buc, and Herbert have survived and are examined in detail to assess their concerns. Large parts of Herbert''s office-book have also survived, giving detailed insights into his professional life, including interactions with both the court and the players. It reveals the difficulties he faced negotiating recurrent popular pressure for war against Spain, resistance to Archbishop Laud''s reforms of the church, and Henrietta Maria''s problematic presence as a Catholic queen to Charles I.

Shakespeare, Court Dramatist centres around the contention that the courts of both Elizabeth I and James I loomed much larger in Shakespeare's creative life than is usually appreciated. Richard Dutton argues that many, perhaps most, of Shakespeare's plays have survived in versions adapted for court presentation, where length was no object (and indeed encouraged) and rhetorical virtuosity was appreciated. The first half of the study examines the court's patronage of the theatre during Shakespeare's lifetime and the crucial role of its Masters of the Revels, who supervised all performances there (as well as censoring plays for public performance). Dutton examines the emergence of the Lord Chamberlain's Men and the King's Men, to whom Shakespeare was attached as their 'ordinary poet', and reviews what is known about the revision of plays in the early modern period. The second half of the study focuses in detail on six of Shakespeare's plays which exist in shorter, less polished texts as well as longer, more familiar ones: Henry VI Part II and III, Romeo and Juliet, Henry V, Hamlet, and The Merry Wives of Windsor. Shakespeare, Court Dramatist argues that they are not cut down from those familiar versions, but poorly-reported originals which Shakespeare revised for court performance into what we know best today. More localised revisions in such plays as Titus Andronicus, Richard II, and Henry IV Part II can also best be explained in this context. The court, Richard Dutton argues, is what made Shakespeare Shakespeare.

Mastering the Revels traces the measures taken by the governments of Elizabeth I, James I, and Charles I to regulate the new phenomenon of fixed playhouses and resident playing companies in London, and to censor their plays. It focuses on the Masters of the Revels, whose primary function was to seek out theatrical entertainment for the court but whose role expanded to include oversight of the players and their playhouses. The book proceeds chronologically, tracking each of the Masters in the period--Edmund Tilney (served 1579-1610), Sir George Buc (1610-22), Sir John Astley (1622-3), and Sir Henry Herbert (1623-1642). Tilney was the first to receive a Special Commission giving him wide-ranging powers over the players. When Buc first became involved is examined here in detail, as is the parallel history of the Children of the Queen's Revels who between 1604 and 1608 staged some of the most scandalous plays of the era. Astley succeeded Buc, but soon sold the office to Herbert, who then served to the closing of the theatres.Manuscripts of plays censored by Tilney, Buc, and Herbert have survived and are examined in detail to assess their concerns. Large parts of Herbert's office-book have also survived, giving detailed insights into his professional life, including interactions with both the court and the players. It reveals the difficulties he faced negotiating recurrent popular pressure for war against Spain, resistance to Archbishop Laud's reforms of the church, and Henrietta Maria's problematic presence as a Catholic queen to Charles I.

Shakespeare, Court Dramatist centres around the contention that the courts of both Elizabeth I and James I loomed much larger in Shakespeare's creative life than is usually appreciated. Richard Dutton argues that many, perhaps most, of Shakespeare's plays have survived in versions adapted for court presentation, where length was no object (and indeed encouraged) and rhetorical virtuosity was appreciated. The first half of the study examines the court's patronage of the theatre during Shakespeare's lifetime and the crucial role of its Masters of the Revels, who supervised all performances there (as well as censoring plays for public performance). Dutton examines the emergence of the Lord Chamberlain's Men and the King's Men, to whom Shakespeare was attached as their 'ordinary poet', and reviews what is known about the revision of plays in the early modern period. The second half of the study focuses in detail on six of Shakespeare's plays which exist in shorter, less polished texts as well as longer, more familiar ones: Henry VI Part II and III, Romeo and Juliet, Henry V, Hamlet, and The Merry Wives of Windsor. Dutton argues that they are not cut down from those familiar versions, but poorly reported originals which Shakespeare revised for court performance into what we know best today. More localized revisions in such plays as Titus Andronicus, Richard II, and Henry IV Part II can also best be explained in this context. The court, Richard Dutton argues, is what made Shakespeare Shakespeare.

There was no single 'Elizabethan stage'. Early modern actors exploited various opportunities for patronage and profit between the 1570s and 1642, whether touring, or performing at inns, in country houses, in purpose-built theatres, at court, at the universities or at the inns of court. This authoritative and comprehensive collection of new essays explores the social, political, and economic pressures under which the playing companies of Shakespeare and his contemporaries operated. It shows how they evolved over time to meet new challenges such as the opposition of City of London authorities, the possibility of permanent location in London, the re-emergence of boy companies c. 1600, and the great increase in court performance which began under James I. Essays also explore the practical everyday business of playing: acquiring scripts and playhouses, dramatic authorship, the contribution of financiers and entrepreneurs, rehearsing, lighting, music, props, styles of acting, boy actors, and the role of women in an 'all-male' world. A number of contributors address the methodologies of theatre history itself, questioning its philosophical premises and evaluating the nature of the evidence we have, such as that from stage directions in play-books or from the visual records. The collection as a whole offers a challenging account of the world of the players in Tudor-Stuart England, revising old assumptions and so inviting us to explore anew the plays which were written for them and which are their greatest living legacy.

This volume contains the four plays by Thomas Middleton which have most impressed the modern world: "A Chaste Maid in Cheapside" is the most complex amd effective of the city comedies; "Women Beware Women" and "The Changeling" (with William Rowley) are two of the most powerful Jacobean tragedies outside of Shakespeare -- studies in lust, power, violence, and self-delusive psychology; "A Game at Chess" was the single most popular play of the whole Shakespearean era, a satirical exposé of Jesuit plotting and Anglo-Spanish politics which played tp pacifist houses at the Globe until King James and his ministers banned it. The best-value collection available with the most officially up-to-date introduction; all the play texts are newly edited with richly informative annotation. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

There was no single 'Elizabethan stage'. Early modern actors exploited various opportunities for patronage and profit between the 1570s and 1642, whether touring, or performing at inns, in country houses, in purpose-built theatres, at court, at the universities, or at the inns of court. This authoritative and comprehensive collection of new essays explores the social, political, and economic pressures under which the playing companies of Shakespeare and his contemporaries operated. It shows how they evolved over time to meet new challenges such as the opposition of City of London authorities, the possibility of permanent location in London, the re-emergence of boy companies c. 1600, and the great increase in court performance which began under James I. Essays also explore the practical everyday business of playing: acquiring scripts and playhouses, dramatic authorship, the contribution of financiers and entrepreneurs, rehearsing, lighting, music, props, styles of acting, boy actors, and the role of women in an 'all-male' world. A number of contributors address the methodologies of theatre history itself, questioning its philosophical premises and evaluating the nature of the evidence we have, such as that from stage directions in play-books or from the visual records. The collection as a whole offers a challenging account of the world of the players in Tudor-Stuart England, revising old assumptions and so inviting us to explore anew the plays which were written for them and which are their greatest living legacy.

Advances in Anesthesia highlights the year's significant medical advances, providing one source to review the essential information updates for the Anesthesiologist in that year. The distinguished editorial board, led by Dr. Thomas McLoughlin, includes Drs. Richard Dutton, Laurence Torsher, and Francis Salinas. The board has assembled a first-rate volume for 2018, with topics including care of the severely injured orthopedic patient, patient satisfaction, emergency preparedness and mass casualty considerations, anticoagulant reversal agents, perioperative blood pressure management, postoperative management of nausea and vomiting, anesthesia for noncardiac surgery in patients with implanted LVAD, neurocognitive impact of anesthesia in children, modalities and techniques for labor epidural analgesia and anesthesia, PECS and Serratus Plane Blocks, Transversus Abdominus Plane (TAP) Blocks, cardiac dysrhythmias, right heart failure and pulmonary hypertension, and risks of "non-rate based harms."

Advances in Anesthesia highlights the year''s significant medical advances, providing one source to review the essential information updates for the Anesthesiologist in that year. The distinguished editorial board, led by Dr. Thomas McLoughlin, includes Drs. Richard Dutton, Laurence Torsher, and Francis Salinas. The board has assembled a first-rate volume for 2018, with topics including care of the severely injured orthopedic patient, patient satisfaction, emergency preparedness and mass casualty considerations, anticoagulant reversal agents, perioperative blood pressure management, postoperative management of nausea and vomiting, anesthesia for noncardiac surgery in patients with implanted LVAD, neurocognitive impact of anesthesia in children, modalities and techniques for labor epidural analgesia and anesthesia, PECS and Serratus Plane Blocks, Transversus Abdominus Plane (TAP) Blocks, cardiac dysrhythmias, right heart failure and pulmonary hypertension, and risks of "non-rate based harms."

Advances in Anesthesia highlights the year's significant medical advances, providing one source to review the essential information updates for the Anesthesiologist in that year. The distinguished editorial board, led by Dr. Thomas McLoughlin, includes Drs. Richard Dutton, Laurence Torsher, and Francis Salinas. The board has assembled a first-rate volume for 2019."

In 'Percy Bysshe Shelly: A Literary Life' , Michael O'Neill gives a knowledgeable and balanced account of Shelley's literary career from his earliest published work to his last unfinished masterpiece, The Triumph of Life . The book draws on recent research about the poet and his age, but its sense of the ways in which texts and contexts interact is sharply independent. Issues discussed include Shelley's social background, his radical politics and his complex response to Enlightenment rationalism. O'Neill stresses Shelley's often disappointed search for an audience, connecting it with the growing sophistication of his poetry and poetics. For Shelley, a poet was the 'combined product' of 'internal powers' and 'external influences' (Preface to Prometheus Unbound ); this book explores how such a combination manifests itself in his own writings.

In 'Percy Bysshe Shelly: A Literary Life' , Michael O'Neill gives a knowledgeable and balanced account of Shelley's literary career from his earliest published work to his last unfinished masterpiece, The Triumph of Life . The book draws on recent research about the poet and his age, but its sense of the ways in which texts and contexts interact is sharply independent. Issues discussed include Shelley's social background, his radical politics and his complex response to Enlightenment rationalism. O'Neill stresses Shelley's often disappointed search for an audience, connecting it with the growing sophistication of his poetry and poetics. For Shelley, a poet was the 'combined product' of 'internal powers' and 'external influences' (Preface to Prometheus Unbound ); this book explores how such a combination manifests itself in his own writings.

In William Wordsworth, John Williams provides a detailed account of Wordsworth's evolution as a poet. This includes his earliest known writing while a pupil at Hawkshead Grammar School, and his later poetry, often virtually ignored by critics. Wordsworth's ambivalent attitude towards seeking out a public readership beyond his immediate circle of friends and admirers is a central concern of the book. This involves an assessment of the poet's shifting sense of his political allegiances alongside the pressures of personal relationships and circumstances.

This new casebook on A Midsummer Night's Dream traces the response of critical theory to a play peculiarly informed by modern preoccupations: imagination, representation and power, sexual repression and subjective transformation, patriarchal society, class structures and the limits of language. The essays collected here - New Critical, Marxist, feminist, New Historicist, cultural materialist, post-structuralist, performance - orientated and deconstructive - show the range of modern responses to these issues in the text. The introduction and endnotes on individual items elucidate the main themes and methodologies, showing how each item contributes to a vigorous wider debate about the Shakespearean text in modern culture.

This book situates John Clare's long, prolific but often badly neglected literary life within the wider cultural histories of the Regency and earlier Victorian periods. The first half considers the construction of the Regency peasant-poet and how Clare performed this role on stages such as the London Magazine. It also looks at the way in which it went out of fashion as Regency mentalities were replaced by early Victorian ones. The second half recreates asylum culture and places Clare's performances as Regency boxers and Lord Byron within this bleak new world.

This book situates John Clare's long, prolific but often badly neglected literary life within the wider cultural histories of the Regency and earlier Victorian periods. The first half considers the construction of the Regency peasant-poet and how Clare performed this role on stages such as the London Magazine. It also looks at the way in which it went out of fashion as Regency mentalities were replaced by early Victorian ones. The second half recreates asylum culture and places Clare's performances as Regency boxers and Lord Byron within this bleak new world.

William Shakespeare is the best-known writer in the English-speaking world. Contrary to popular myth, we actually know more about him and his career than we do about most dramatists of his era - the fruits of three hundred years of fascinated research. Whilst we know less than we would like about Shakespeare's private life, we do have a far clearer picture of his professional career, and of the theatres and social structures with which he was involved. And yet the significance of what we know is fiercely contested and we are challenged by a host of contradictions. Elizabethan actors were often classed as vagabonds yet some were also servants to royalty who performed at court. All the roles in Shakespeare's plays were acted by men, yet he wrote strong roles for women from Lady Macbeth to Rosalind. So was Shakespeare a feminist before his time? Richard Dutton tackles these and other issues which keep Shakespeare, the most influential literary life in literary history, at the centre of our cultural life today.

Advances in Anesthesia reviews the year’s most important findings and updates within the field in order to provide anesthesiologists with the current clinical information they need to improve patient outcomes. A distinguished editorial board, led by Dr. Laurence Torsher, identifies key areas of major progress and controversy and invites preeminent clinicians to contribute original articles devoted to these topics. These insightful overviews in anesthesia inform and enhance clinical practice by bringing concepts to a clinical level and exploring their everyday impact on patient care.

This four-volume Companion to Shakespeare''s Works, compiled as a single entity, offers a uniquely comprehensive snapshot of current Shakespeare criticism.

Brings together new essays from a mixture of younger and more established scholars from around the world - Australia, Canada, France, New Zealand, the United Kingdom, and the United States. Examines each of Shakespeare’s plays and major poems, using all the resources of contemporary criticism, from performance studies to feminist, historicist, and textual analysis. Volumes are organized in relation to generic categories: namely the histories, the tragedies, the romantic comedies, and the late plays, problem plays and poems. Each volume contains individual essays on all texts in the relevant category, as well as more general essays looking at critical issues and approaches more widely relevant to the genre. Offers a provocative roadmap to Shakespeare studies at the dawning of the twenty-first century.

This companion to Shakespeare''s tragedies contains original essays on every tragedy from Titus Andronicus to Coriolanus as well as thirteen additional essays on such topics as Shakespeare''s Roman tragedies, Shakespeare''s tragedies on film, Shakespeare''s tragedies of love, Hamlet in performance, and tragic emotion in Shakespeare.

This four-volume Companion to Shakespeare''s Works, compiled as a single entity, offers a uniquely comprehensive snapshot of current Shakespeare criticism.

Brings together new essays from a mixture of younger and more established scholars from around the world - Australia, Canada, France, New Zealand, the United Kingdom, and the United States. Examines each of Shakespeare’s plays and major poems, using all the resources of contemporary criticism, from performance studies to feminist, historicist, and textual analysis. Volumes are organized in relation to generic categories: namely the histories, the tragedies, the romantic comedies, and the late plays, problem plays and poems. Each volume contains individual essays on all texts in the relevant category, as well as more general essays looking at critical issues and approaches more widely relevant to the genre. Offers a provocative roadmap to Shakespeare studies at the dawning of the twenty-first century.

This companion to Shakespeare''s histories contains original essays on every history play from Henry VI to Henry V as well as fourteen additional articles on such topics as censorship in Shakespeare''s histories, the relation of Shakespeare''s plays to other dramatic histories of the period, Shakespeare''s histories on film, the homoerotics of Shakespeare''s history plays, and nation formation in Shakespeare''s histories.

This four-volume Companion to Shakespeare''s Works, compiled as a single entity, offers a uniquely comprehensive snapshot of current Shakespeare criticism.

Brings together new essays from a mixture of younger and more established scholars from around the world - Australia, Canada, France, New Zealand, the United Kingdom, and the United States. Examines each of Shakespeare''s plays and major poems, using all the resources of contemporary criticism, from performance studies to feminist, historicist, and textual analysis. Volumes are organized in relation to generic categories: namely the histories, the tragedies, the romantic comedies, and the late plays, problem plays and poems. Each volume contains individual essays on all texts in the relevant category, as well as more general essays looking at critical issues and approaches more widely relevant to the genre. Offers a provocative roadmap to Shakespeare studies at the dawning of the twenty-first century.

This companion to Shakespeare''s comedies contains original essays on every comedy from The Two Gentlemen of Verona to Twelfth Night as well as twelve additional articles on such topics as the humoral body in Shakespearean comedy, Shakespeare''s comedies on film, Shakespeare''s relation to other comic writers of his time, Shakespeare''s cross-dressing comedies, and the geographies of Shakespearean comedy.

This four-volume Companion to Shakespeare''s Works, compiled as a single entity, offers a uniquely comprehensive snapshot of current Shakespeare criticism. Brings together new essays from a mixture of younger and more established scholars from around the world - Australia, Canada, France, New Zealand, the United Kingdom, and the United States. Examines each of Shakespeare’s plays and major poems, using all the resources of contemporary criticism, from performance studies to feminist, historicist, and textual analysis. Volumes are organized in relation to generic categories: namely the histories, the tragedies, the romantic comedies, and the late plays, problem plays and poems. Each volume contains individual essays on all texts in the relevant category, as well as more general essays looking at critical issues and approaches more widely relevant to the genre. Offers a provocative roadmap to Shakespeare studies at the dawning of the twenty-first century.

This companion to Shakespeare’s poems, problem comedies and late plays contains original essays on Troilus and Cressida, Measure for Measure, All''s Well That Ends Well, "Venus and Adonis", "The Rape of Lucrece", and "The Sonnets", as well as Pericles, The Winter''s Tale, Cymbeline, The Tempest, and The Two Noble Kinsmen.

This book offers a critical assessment of the career of one of the most formidable figures of English literature, the most influential poet and dramatist of the early seventeenth century. Richard Dutton focuses on the greatest landmark of Jonson's career, the 1616 folio collection of his works with which he crowned his growing reputation as a man of letters, collecting together the majority of his most enduring works - including Every Man in his Humour, Volpone, The Alchemist; the tragedies Sejanus and Catiline; and the major masques and poems. The book relates these works (and another masterpiece, Bartholomew Fair, which belongs to the same period) to Jonson's tempestuous life and times, touching on such issues as his involvement with the Gunpowder Plot, his frequent confrontations with the political authorities, his emergence as Poet Laureate at Court and his often touchy relations with fellow authors like Shakespeare and Donne. But the principal aim throughout is to offer detailed critical analyses of Jonson's major works showing how, for all that they are rooted in the concerns of his own age, they are far more accessible and relevant to modern readers than is often assumed.

Ben Jonson's Volpone is the most widely taught and commonly performed English Renaissance play outside of Shakespeare. However, the dramatic circumstances of its writing are little known. Jonson wrote the play very shortly after the Gunpowder Plot in 1605, an event in which he was personally involved. This book argues that the play alludes to the plot as openly as censorship will allow, using the traditional form of the beast fable. As a Roman Catholic himself, Jonson shared in the repression suffered by his co-religionists in the wake of the Plot, and the play fiercely satirizes the man they chiefly blamed for this, Robert Cecil. The elaborate format which Jonson devised for the 1607 edition of Volpone, with a dedication, Epistle and numerous commendatory poems, is reproduced here photographically, allowing the reader to appreciate Jonson's covert meanings and to approach the text as those in 1607 might have done.

New Historicism has been one of the major developments in literary theory over the last decade, both in the USA and Europe. In this book, Wilson and Dutton examine the theories behind New Historicism and its celebrated impact in practice on Renaissance Drama, providing an important collection both for students of the genre and of literary theory.