Jacobean drama:
Saved in:
| Main Author: | |
|---|---|
| Format: | Book |
| Language: | English |
| Published: |
Basingstoke [u.a.]
Palgrave Macmillan
2010
|
| Edition: | 1. publ. |
| Series: | Readers' guides to essential criticism
|
| Subjects: | |
| Online Access: | Inhaltsverzeichnis |
| Physical Description: | X, 205 S. |
| ISBN: | 9780230008168 9780230008151 |
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| adam_text | CONTENTS
Acknowledgements x
Introduction: Defining Jacobean Drama
1
Sketches the difficulties in defining the term Jacobean , discusses the
drama s association with decadence, explains the approach taken to
the guide and summarises the chapters to follow.
CHAPTER ONE
7
The Critical Trail
-
Early Views to the Twentieth Century
Traces the development of criticism of Jacobean drama from the
Restoration through to the early
1990s.
The chapter considers, in
particular, the Romantic criticism of Charles Lamb, S.T. Coleridge
and William Hazlitt and the
fin-de-siècle
approaches of William
Archer,
A.C.
Swinburne and John Addington Symonds. It then moves to
the advances in theatre history brought forward by
E. K.
Chambers
and G.E.
Bentley
and sets these alongside the theatrical and
literary criticism of Muriel
С
Bradbrook,
A.C.
Bradley, T.S. Eliot, Una
Ellis-Fermor and LC. Knights. Next, it considers the moralist criticism
of the
1960s,
as represented by Robert Ornstein, F. P. Wilson and
T. B.
Tomlinson. It concludes with an assessment of David Scott
Kastan
and Peter Stallybrass s Staging the Renaissance, which
brought together essays by key figures in the New Historicism .
CHAPTER TWO
26
Theatre History
Is concerned with the developments in theatre history that have
resulted from the work of E.K. Chambers and G.E.
Bentley.
The
chapter considers the work of Andrew
Gurr in
depth and compares
his approach to that of some of his peers, including Keith Sturgess,
Alan
С
Dessen
and Martin White. In Gurr s work, it traces the gradual
shift from the use of Shakespeare-centred master narratives towards
a more fractured view of theatre history. This shift is representative
vi
CONTENTS
of a general trend in theatre history, as is evident in the work of the
critics included in John D. Cox and David Scott Kastan s New History
of Early English Drama and representative books by Tiffany Stern and
Lucy Munro. The same fracturing, but with a firmer underpinning by
critical theory, is also evident in the most recent work in the field
brought together in the Oxford Handbook of Early Modern Theatre.
CHAPTER THREE
40
Textual Transmission
Describes the critical movement known as the New Bibliography
through a discussion of texts by W.W. Greg and Fredson Bowers. The
chapter then outlines the New Textualist reaction to this movement
and illustrates the argument with examples from the work of Michael
Warren, Gary Taylor, Stanley Wells and Jerome J. McGann. The New
Textualism itself has since been critiqued and elaborated on, as is
evident from a discussion of the arguments of John Lavagnino,
Sonia
Massai,
Jeffrey
Masten,
Joseph Loewenstein and Zachary Lesser
as well as from an analysis of recent and current editorial projects.
Particular attention is paid to the Cambridge edition of the works of
Jonson
and the Oxford edition of the works of Middleton. MacDonald
P. Jackson s, John Jowett s and Suzanne Gossett s work for the Oxford
Middleton is considered as a way of shedding light on specific problems
that arise when editing collaboratively authored plays.
CHAPTER FOUR
53
Historical Contexts
Briefly discusses the criticism of E.M.W. Tillyard, which provoked a
strong reaction by historically minded scholars in the late
1970s
and
early
1980s.
In Britain, books by Jonathan
Dollimore
and Catherine
Belsey respectively exemplify the cultural materialist and politically
engaged
poststructuralist
response to Tillyard s approach, while in
North America, the work of Stephen
Orgel,
Jonathan Goldberg and
Stephen Greenblatt is representative of the New Historicist reaction
against Tillyard and the older modes of historical inquiry. More recently,
critics such as Stephen Mullaney, Douglas Bruster and Jean E. Howard
have pushed historicist work in diverse directions, building a body of
work which is represented in David Scott
Kastan
and Peter
Stal
lybrass s
Staging the Renaissance and in John D. Cox and David Scott Kastan s
A New History of Early English Drama. The materialist and empiricist
approach taken in the second anthology is representative of recent
CONTENTS
vii
work in this field, as can also be seen in the criticism of Peter Lake
and Michael Quest
ier.
CHAPTER FIVE
73
The Genres of Jacobean Drama
Opens with a general discussion of the importance of genre as a critical
category, drawing on the views of Rosalie
Colie, Alistair
Fowler and
Heather Dubrow. The chapter then considers Jacobean dramatic genres
and their criticism in turn: tragedy (the criticism of Muriel Bradbrook,
Robert Ornstein, Dympna Callaghan and Michael Neill), revenge
tragedy (the criticism of Fredson Bowers, Charles and Elaine Hallett
and Eileen
Allman),
comedy (the criticism of C. L. Barber, Northrop Frye
and Muriel Bradbrook), city comedy (the criticism of Brian Gibbons
and Alexander
Leggati),
tragicomedy (the criticism of Eugene Waith,
Marvin
Herrick,
the authors brought together in Nancy Klein Maguire s
collection of essays, as well as the work of Jeffrey
Masten, Zachary
Lesser and Lucy Munro), court masques (the criticism of Stephen
Orgel,
Roy Strong, the authors
-
especially Martin Butler
-
brought
together in Peter Holbrook and David Bevington s collection of essays
and the work of Clare McManus)
,
the history play (the criticism of Irving
Ribner, Judith Doolin Spikes, Martha S. Robinson, Teresa Grant, Mark
Hutchings and Barbara Ravelhofer), and closet drama (the criticism of
Albert H.
Tricomi, Marta
Strážnicky,
the authors brought together in
S.P. Cerasano and Marion Wynne-Davies collection of essays, and of
Karen Raber).
CHAPTER SIX
100
Body and Race Scholarship
Begins with a consideration of the body scholarship or historical
phenomenology , focussing on Mikhail Bakhtin s theorisation of festi¬
vity and the carnivalesque, Thomas Laqueur s investigation of the
Galenic one-sex body, Jonathan Sawday s inquiry into anatomical
practices and tropes and Gail Kern Paster s analysis of the humoural
body as represented in medical discourses and on stage. It then goes
on to consider studies concerned with race, ethnicity and Islam,
beginning with G.K. Hunter s essay on Othello before moving on to a
discussion of books by Anthony Gerard Bartheiemy,
Ania
Loomba and
Kim Hall in the
1980s
and
1990s.
It concludes with a survey of more
recent approaches, which have focused on geohumouralism (Mary
Floyd-Wilson), encounters with cultural others in the Mediterranean
viii CONTENTS
(Daniel
Vitkus),
non-systematic xenophobias and shades of difference
(Sujata lyengar), and the performance of blackness on early English
stages (Virginia Mason Vaughan).
CHAPTER SEVEN
119
Gender and Sexuality
Surveys three key analyses that have focussed on the issue of
cross-dressing in Shakespeare s romantic comedies and Jacobean
city comedy, contrasting the approaches of Lisa
Jardine,
Jean
E.Howard and Stephen
Orgel.
It then proceedsto a wider investigation
of gender and sexuality in feminist re-visions of Jacobean drama,
concentrating on the criticism of Mary Beth Rose, Karen Newman
and Wendy Wall, all of whom are influenced by the historicist work
of the
1980s.
The final part of the chapter is concerned with queer
studies of Jacobean drama. It starts with a discussion of the work
of Alan Bray, a historian, before moving on to the literary analyses
of Jonathan Goldberg, Mario DiGangi, who discusses homoerotic
friendship and Mary
Bly,
who combines queer studies and theatre
history. It concludes with the criticism of Valerie Traub, whose focus
on lesbian desire brings a much-needed corrective to the male focus
of the other queer studies surveyed here.
CHAPTER EIGHT
140
Performance Studies
Opens with a survey of Shakespearean performance criticism, tracing
its development from early studies, like J.L. Styan s, which sought to
find evidence of early modern staging practices in modern performan¬
ces, to Shakespearean performance studies, an approach which no
longer seeks for authenticity and faithfulness to the Shakespearean
texts but focuses on how modern performances create meanings
that are relevant for today s audiences. Representatives of this
latter school are Barbara Hodgdon, W.B. Worthen, Carol
Rutter
and
the authors brought together in Diana E. Henderson s collection of
essays concerned with Shakespeare on screen. The chapter moves
on to discuss the development of Jacobean performance studies , a
new critical field to which Susan Bennett, Martin White and Roberta
Barker have contributed in various ways. Finally, it considers critical
approaches to Jacobean drama on film, focusing on the one hand on a
handful of French films of Volpone and, on the other hand, on the recent
Jacobean films by Marcus Thompson, Mike Figgis and Alex Cox.
CONTENTS ix
Conclusion
158
Draws on each approach surveyed in the guide to point to avenues for
future research and suggests ways in which the guide may be used in
conjunction with other surveys in future years.
NOTES
162
SELECT BIBLIOGRAPHY
182
SELECT FILMOGRAPHY
194
INDEX
197
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