Renaissance Drama 40: What is Renaissance Drama?

Editore: Northwestern University Press
ISBN 10: 0810128454 / ISBN 13: 9780810128453
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0810128454 Crisp, clean, unread hardcover with light shelfwear, missing dust jacket and a publisher's mark to one edge - Nice!. Codice inventario libreria

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Riassunto: 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, Molière, 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?

About the Author: 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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Titolo: Renaissance Drama 40: What is Renaissance ...
Casa editrice: Northwestern University Press
Legatura: Hardcover
Condizione libro: Very Good

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Descrizione libro Northwestern University Press, 2012. Hardcover. Condizione libro: Good. Item may show signs of shelf wear. Pages may include limited notes and highlighting. Includes supplemental or companion materials if applicable. Access codes may or may not work. Connecting readers since 1972. Customer service is our top priority. Codice libro della libreria mon0000864279

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Descrizione libro Northwestern University Press, United States, 2012. Hardback. Condizione libro: New. Reprint. 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?. Codice libro della libreria AAN9780810128453

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Descrizione libro Northwestern University Press, United States, 2012. Hardback. Condizione libro: New. Reprint. 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?. Codice libro della libreria AAN9780810128453

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