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Renaissance Drama: Vol. 40: What is Renaissance Drama? (Hardback)

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ISBN 10: 0810128454 / ISBN 13: 9780810128453
Edité par Northwestern University Press, United States, 2012
Neuf(s) Etat : New Hardback
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A propos de cet article

Language: English . Brand New Book. In this fortieth volume of Renaissance Drama, we pause again, not with the idea that we could define, or even describe, what might be, ought to be, or is included in the study of Renaissance drama (or if it is even always or ever the Renaissance, or the drama, that we study). But this does not even seem to have been what moved the first conversations that became Research Opportunities and Renaissance Drama. Rather, as they seem to have felt, we want to look at where we are and where our studies might lead us, and we too think we might as well make a beginning. For this issue, the editors invited a number of scholars working on different kinds of Renaissance drama, in a variety of ways and in several languages, to contribute brief essays addressing the state of the field of Renaissance drama, the field being convenient shorthand for the practical but productive indefinition under which we carry out our research and publish Renaissance Drama. In particular we asked them to consider these questions: How and with what effects has the study of Renaissance drama (or early modern performance) changed over the past half-century? What now is Renaissance drama? What could Renaissance drama become? What do you see as the most exciting (or least productive) development in the field? How have other developments in literary studies, performance studies, or other historical periods affected work in the field? What is missing from work in the field that it would be desirable to include or revive? Are there strategies you would propose for working through the divisions in the field based on national boundaries, between languages and traditions, or between canonical figures like Shakespeare, Moliere, and other kinds of work? What kinds of distinctions do you see in the field? How are they useful or misleading? What new avenues in the field should open up further? Where should we look now? What is the most important work being done, or remaining to be done?. N° de réf. du libraire AAN9780810128453

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Détails bibliographiques

Titre : Renaissance Drama: Vol. 40: What is ...

Éditeur : Northwestern University Press, United States

Date d'édition : 2012

Reliure : Hardback

Etat du livre :New

Edition : Reprint.

A propos de ce titre

Synopsis :

In this fortieth volume of "Renaissance Drama," we pause again, not with the idea that we could define, or even describe, what might be, ought to be, or is included in the study of Renaissance drama (or if it is even always or ever the Renaissance, or the drama, that we study). But this does not even seem to have been what moved the first conversations that became "Research Opportunities" and "Renaissance Drama." Rather, as they seem to have felt, we want to look at where we are and where our studies might lead us, and we too think we might as well make a beginning. For this issue, the editors invited a number of scholars working on different kinds of Renaissance drama, in a variety of ways and in several languages, to contribute brief essays addressing the state of the field of Renaissance drama, "the field" being convenient shorthand for the practical but productive indefinition under which we carry out our research and publish "Renaissance Drama." In particular we asked them to consider these questions:

  • How and with what effects has the study of Renaissance drama (or early modern performance) changed over the past half-century?
  • What now is Renaissance drama?? What could Renaissance drama become?
  • What do you see as the most exciting (or least productive) development in the field?
  • How have other developments in literary studies, performance studies, or other historical periods affected work in the field?
  • What is missing from work in the field that it would be desirable to include or revive?
  • Are there strategies you would propose for working through the divisions in the field based on national boundaries, between languages and traditions, or between canonical figures like Shakespeare, Moliere, and other kinds of work?? What kinds of distinctions do you see in the field?? How are they useful or misleading?
  • What new avenues in the field should open up further?? Where should we look now?
  • What is the most important work being done, or remaining to be done?

A propos de l'auteur:

William N. West is an associate professor of English, classics, and comparative literary studies at Northwestern University, a fellow of the Humanities Residential College, and a codirector of the drama major. He is the author of "Theatres and Encyclopedias in Early Modern Europe" (2002) and is currently at work on a book about early modern English theatrical performance and theatergoing.

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