Book contents
- The Cambridge Guide to the Worlds of Shakespeare
- Frontispiece
- Frontispiece
- The Cambridge Guide to the Worlds of Shakespeare
- Worlds of Shakespeare
- Copyright page
- Contents
- Illustrations
- Contributors
- Preface
- Acknowledgments
- Abbreviations
- Part I Mapping Shakespeare’s World
- Part II Theater
- Part III Language
- Part IV Science and Technology
- Part V Printing, Publishing, Textuality
- Part VI Visual Arts
- Part VII Popular Culture
- Part VIII High Culture
- Part IX England, 1560–1650
- Part X Religion
- Part XI Medicine
- Part XII The Historical William Shakespeare
- Part XIII Shakespeare’s Fellows
- Introduction
- 113 Robert Greene
- 114 Christopher Marlowe
- 115 Thomas Nashe
- 116 Thomas Kyd
- 117 Richard Tarlton
- 118 George Peele
- 119 John Lyly
- 120 Richard Burbage
- 121 John Heminges and Henry Condell
- 122 Edward Alleyn and Philip Henslowe
- 123 Nathan Field
- 124 William Kemp
- 125 Robert Johnson
- 126 Robert Armin
- 127 Ben Jonson
- 128 John Fletcher
- 129 Thomas Middleton
- 130 John Webster
- Part XIV Shakespeare’s Early Reception (to 1660)
- Part XV International Encounters
- Part XVI Making the Scene
- Part XVII Shakespeare as Cultural Icon
- Part XVIII Shakespeare and Popular Culture
- Part XIX Translation
- Part XX Changing Technologies of Stage Performance
- Part XXI Audiences
- Part XXII Production History
- Part XXIII Printing and Reception History
- Part XXIV Shakespeare and the Book
- Part XXV Shakespeare and the Critics
- Part XXVI Shakespeare and the Performing Arts
- Part XXVII Shakespeare and the Visual Arts
- Part XXVIII Shakespeare and Media History
- Index
- References
129 - Thomas Middleton
from Part XIII - Shakespeare’s Fellows
Published online by Cambridge University Press: 17 August 2019
Edited by
Edited in association with
Book contents
- The Cambridge Guide to the Worlds of Shakespeare
- Frontispiece
- Frontispiece
- The Cambridge Guide to the Worlds of Shakespeare
- Worlds of Shakespeare
- Copyright page
- Contents
- Illustrations
- Contributors
- Preface
- Acknowledgments
- Abbreviations
- Part I Mapping Shakespeare’s World
- Part II Theater
- Part III Language
- Part IV Science and Technology
- Part V Printing, Publishing, Textuality
- Part VI Visual Arts
- Part VII Popular Culture
- Part VIII High Culture
- Part IX England, 1560–1650
- Part X Religion
- Part XI Medicine
- Part XII The Historical William Shakespeare
- Part XIII Shakespeare’s Fellows
- Introduction
- 113 Robert Greene
- 114 Christopher Marlowe
- 115 Thomas Nashe
- 116 Thomas Kyd
- 117 Richard Tarlton
- 118 George Peele
- 119 John Lyly
- 120 Richard Burbage
- 121 John Heminges and Henry Condell
- 122 Edward Alleyn and Philip Henslowe
- 123 Nathan Field
- 124 William Kemp
- 125 Robert Johnson
- 126 Robert Armin
- 127 Ben Jonson
- 128 John Fletcher
- 129 Thomas Middleton
- 130 John Webster
- Part XIV Shakespeare’s Early Reception (to 1660)
- Part XV International Encounters
- Part XVI Making the Scene
- Part XVII Shakespeare as Cultural Icon
- Part XVIII Shakespeare and Popular Culture
- Part XIX Translation
- Part XX Changing Technologies of Stage Performance
- Part XXI Audiences
- Part XXII Production History
- Part XXIII Printing and Reception History
- Part XXIV Shakespeare and the Book
- Part XXV Shakespeare and the Critics
- Part XXVI Shakespeare and the Performing Arts
- Part XXVII Shakespeare and the Visual Arts
- Part XXVIII Shakespeare and Media History
- Index
- References
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- The Cambridge Guide to the Worlds of Shakespeare , pp. 963 - 967Publisher: Cambridge University PressPrint publication year: 2016
References
Sources cited
Barker, Richard Hindry. Thomas Middleton. New York: Columbia UP; London: Oxford UP, 1958.CrossRefGoogle Scholar
Holdsworth, R. V. “Middleton’s Authorship of A Yorkshire Tragedy.” Review of English Studies 45 (1994): 1–25.Google Scholar
Jackson, MacDonald P. Studies in Attribution: Middleton and Shakespeare. Salzburg: Institut für Englische Sprache und Literatur, Universität Salzburg, 1979.Google Scholar
Jowett, John. “Introduction.” Shakespeare, William and Middleton, Thomas, The Life of Timon of Athens. Ed. Jowett, John. Oxford: Oxford UP, 2004. 1–153.Google Scholar
Jowett, John, and Taylor, Gary. Shakespeare Reshaped, 1606–23. Oxford: Clarendon, 1993.Google Scholar
Lake, David. The Canon of Thomas Middleton’s Plays. Cambridge: Cambridge University Press, 1975.Google Scholar
Maguire, Laurie, and Smith, Emma. “Letters to the Editor.” Times Literary Supplement 8 June 2012.Google Scholar
Maguire, Laurie, and Smith, Emma. “Many Hands – A New Shakespeare Collaboration?” Times Literary Supplement 19 April 2012.Google Scholar
Taylor, Gary, and Lavagnino, John, eds. The Collected Works of Thomas Middleton. Oxford: Clarendon, 2007.Google Scholar
Vickers, Brian. “Disintegrated: Did Thomas Middleton Really Adapt Macbeth?” Times Literary Supplement 28 May 2010: 14–15.Google Scholar
Vickers, Brian. Shakespeare Co-Author: A Historical Study of Five Collaborative Plays. Oxford: Oxford UP, 2002.Google Scholar
Vickers, Brian, and Dahl, Marcus. “All’s Well That Ends Well: An Attribution Refuted.” Times Literary Supplement 9 May 2012.Google Scholar
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Further reading
Dollimore, Jonathan. Radical Tragedy: Religion, Ideology and Power in the Drama of Shakespeare and His Contemporaries. Brighton: Harvester, 1984.Google Scholar
Friedenreich, Kenneth, ed. “Accompaninge the Players”: Essays Celebrating Thomas Middleton, 1580–1980. New York: AMS Press, 1983.Google Scholar
Gossett, Suzanne, ed. Thomas Middleton in Context. Cambridge: Cambridge University Press, 2011.Google Scholar
Heinemann, Margot. Puritanism and Theatre: Thomas Middleton and Opposition Drama under the Early Stuarts. 2nd ed. Cambridge: Cambridge University Press, 1982.Google Scholar
Leinwand, Theodore. The City Staged: Jacobean City Comedy, 1603–1613. Madison: U of Wisconsin P, 1986.Google Scholar
McLuskie, Kathleen E., and Bevington, David, eds. Plays on Women. Manchester: Manchester UP, 1999.Google Scholar
Stallybrass, Peter. “Reading the Body and the Jacobean Theater of Consumption: The Revenger’s Tragedy (1606).” Staging the Renaissance: Reinterpretations of Elizabethan and Jacobean Drama. Ed. Kastan, David Scott and Stallybrass, Peter. London: Routledge, 1991.Google Scholar
Thomson, Leslie. “‘Enter Above’: The Staging of Women Beware Women.” Studies in English Literature 26 (1986): 331–43.CrossRefGoogle Scholar