Book contents
- Frontmatter
- Having Our Will: Imagination in Recent Shakespeare Biographies
- Toward a New Biography of Shakespeare
- Jonson, Shakespeare and the Exorcists
- ‘Lending soft audience to my sweet design’: Shifting Roles and Shifting Readings of Shakespeare’s ‘A Lover’s Complaint’
- ‘Armed at point exactly’: The Ghost in Hamlet
- Writing About Motive: Isabella, the Duke and Moral Authority
- Writing Performance: How to Elegize Elizabethan Actors
- Elizabeth Montagu: ‘Shakespear’s poor little Critick’?
- Rewriting Lear’s Untender Daughter: Fanny Price as a Regency Cordelia in Jane Austen’s Mansfield Park
- The Prequel as Palinode: Mary Cowden Clarke’s Girlhood of Shakespeare’s Heroines
- Shakespeare Among the Workers
- Virginia Woolf Reads Shakespeare: Or, her Silence on Master William
- Shakespeare and the Invention of the Epic Theatre: Working with Brecht
- Dramatizing the Dramatist
- Shakespeare in Drama Since 1990: Vanishing Act
- Writing about [Shakespearian] performance
- Shakespeare and the Prospect of Presentism
- Writing Shakespeare in the Global Economy
- The ‘Complexion’ of Twelfth Night
- Translation as Appropriation: Vassilis Rotas, Shakespeare and Modern Greek
- How Old Were Shakespeare’s Boy Actors?
- Mistress Tale Porter and the Triumph of Time: Slander and Old Wives’ Tales in The Winter’s Tale
- Shakespeare Performances in Ireland, 2002–2004
- Shakespeare Performances in England, 2004
- Professional Shakespeare Productions in the British Isles January–December 2003
- The Year's Contributions to Shakespearian Study 1 Critical Studies
- 2 Shakespeare in Performance
- 3 Editions and Textual Studies
- Books Received
- Index
The Year's Contributions to Shakespearian Study 1 - Critical Studies
Published online by Cambridge University Press: 28 March 2007
- Frontmatter
- Having Our Will: Imagination in Recent Shakespeare Biographies
- Toward a New Biography of Shakespeare
- Jonson, Shakespeare and the Exorcists
- ‘Lending soft audience to my sweet design’: Shifting Roles and Shifting Readings of Shakespeare’s ‘A Lover’s Complaint’
- ‘Armed at point exactly’: The Ghost in Hamlet
- Writing About Motive: Isabella, the Duke and Moral Authority
- Writing Performance: How to Elegize Elizabethan Actors
- Elizabeth Montagu: ‘Shakespear’s poor little Critick’?
- Rewriting Lear’s Untender Daughter: Fanny Price as a Regency Cordelia in Jane Austen’s Mansfield Park
- The Prequel as Palinode: Mary Cowden Clarke’s Girlhood of Shakespeare’s Heroines
- Shakespeare Among the Workers
- Virginia Woolf Reads Shakespeare: Or, her Silence on Master William
- Shakespeare and the Invention of the Epic Theatre: Working with Brecht
- Dramatizing the Dramatist
- Shakespeare in Drama Since 1990: Vanishing Act
- Writing about [Shakespearian] performance
- Shakespeare and the Prospect of Presentism
- Writing Shakespeare in the Global Economy
- The ‘Complexion’ of Twelfth Night
- Translation as Appropriation: Vassilis Rotas, Shakespeare and Modern Greek
- How Old Were Shakespeare’s Boy Actors?
- Mistress Tale Porter and the Triumph of Time: Slander and Old Wives’ Tales in The Winter’s Tale
- Shakespeare Performances in Ireland, 2002–2004
- Shakespeare Performances in England, 2004
- Professional Shakespeare Productions in the British Isles January–December 2003
- The Year's Contributions to Shakespearian Study 1 Critical Studies
- 2 Shakespeare in Performance
- 3 Editions and Textual Studies
- Books Received
- Index
Summary
As I complete my three-year stint of reading and reviewing Shakespeare criticism, and as part of my annual general reflections, I want to acknowledge the invisible support which makes this article possible. I think I can speak for the other reviewers in saying how chastening it is to realize just how much Shakespearians depend upon the judgements in this section to keep abreast of what’s going on, especially in places where access to books and periodicals is limited. The brute fact of wealth is repeatedly brought home to us, by which I mean not merely access but the freedom which comes with time, Pascal’s sitting quietly in a room – time to read, to write, to think. Universities which appreciate, and subsidize, scholarship – and not all of them do – underwrite our writing, and not crudely as one component in our terms and conditions. Subsidy of journal publication through university presses, and university departments, enhances our conversation. It isn’t all good news, however, and I have previously signalled the increase in what threatens to become a kind of institutional vanity publishing. Subsidy may soon be necessary for the publication of specialized monographs but it is already taken for granted with collections of conference papers or, indeed, collections of essays by individuals. For example, this year essays from the World Shakespeare Congress in Valencia and the Shakespeare in Europe meetings have begun to appear, courtesy of Ashgate’s rare willingness to make them available – as long as someone else does all the preparation. The University of Delaware’s commitment to Renaissance literature has long been exemplary and both presses have been laudably open to non-Anglo-Saxon scholars. For more miscellaneous collections, Ashgate and Boydell and Brewer may soon be the last homes of the English-language festschrift.
- Type
- Chapter
- Information
- Shakespeare Survey , pp. 308 - 334Publisher: Cambridge University PressPrint publication year: 2005