Book contents
- Shakespeare Survey
- Shakespeare Survey
- Shakespeare Survey
- Copyright page
- Editor’s Note
- Contributors
- Contents
- Illustrations
- ‘Think when we talk of horses … ’
- In Dialogue with Ayanna Thompson
- Shakespeare and the Novel: A Conversation
- ‘Music Still’: Understanding and Reconstructing Shakespeare’s Use of Musical Underscore
- Remembering and Forgetting in 1916: Israel Gollancz, the Shakespeare Tercentenary and the National Theatre
- Four Centuries of Centenaries: Stratford-upon-Avon
- Writing and Re-writing Shakespeare’s Life: A Roundtable Discussion with Margreta de Grazia, Katherine Scheil, James Shapiro and Stanley Wells
- The Merchant in Venice: Re-creating Shakespeare in the Ghetto
- Shakespeare’s The Merchant of Venice in and beyond the Ghetto
- What the Quills Can Tell: The Case of John Fletcher and Philip Massinger’s Love’s Cure
- What if Greg and Werstine Had Examined Early Modern Spanish Dramatic Manuscripts?
- Exit Manuscripts: The Archive of Theatre and the Archive of Print
- ‘’Sblood!’: Hamlet’s Oaths and the Editing of Shakespeare’s Plays
- Antihonorificabilitudinitatibus: Love’s Labour’s Lost and Unteachable Words
- Shakespeare and Who? Aeschylus, Edward III and Thomas Kyd
- Authorial Attribution and Shakespearean Variety: Genre, Form and Chronology
- ‘My mother’s maids, when they did sew and spin’: Staging Sewing, Telling Tales
- Why Prospero Drowned His Books, and Other Catholic Folklore
- Why Did the English Stage Take Boys for Actresses?
- Acting Amiss: Towards a History of Actorly Craft and Playhouse Judgement
- ‘What imports this song?’: Spontaneous Singers and Spaces of Meaning in Shakespeare
- Shakespeare’s Depriving Particles
- Shakespeare’s Comedy of Upright Status: Standing Bears and Fallen Humans
- ‘Worth the name of a Christian’?: The Parabolic Economy of The Two Gentlemen of Verona
- ‘Titus, unkind’: Shakespeare’s Revision of Virgil’s Aeneas in Titus Andronicus
- ‘Cut him out in little stars’: Juliet’s Cute Classicism
- The Will of Caesar: Choice-making, the Death of the Roman Republic and the Development of Shakespearean Character
- ‘As for that light hobby-horse, my sister’: Shakespearean Influences and Popular Discourses in Blurt Master Constable
- Messianic Ugliness in A Midsummer Night’s Dream and The Winter’s Tale
- Shakespeare Performances in England, 2016
- Professional Shakespeare Productions in the British Isles, January–December 2015
- The Year’s Contribution to Shakespeare Studies
- Abstracts of Articles in Shakespeare Survey 70
- Shakespeare Survey 70 Index
- References
Shakespeare Survey
Published online by Cambridge University Press: 30 November 2017
Edited by
Book contents
- Shakespeare Survey
- Shakespeare Survey
- Shakespeare Survey
- Copyright page
- Editor’s Note
- Contributors
- Contents
- Illustrations
- ‘Think when we talk of horses … ’
- In Dialogue with Ayanna Thompson
- Shakespeare and the Novel: A Conversation
- ‘Music Still’: Understanding and Reconstructing Shakespeare’s Use of Musical Underscore
- Remembering and Forgetting in 1916: Israel Gollancz, the Shakespeare Tercentenary and the National Theatre
- Four Centuries of Centenaries: Stratford-upon-Avon
- Writing and Re-writing Shakespeare’s Life: A Roundtable Discussion with Margreta de Grazia, Katherine Scheil, James Shapiro and Stanley Wells
- The Merchant in Venice: Re-creating Shakespeare in the Ghetto
- Shakespeare’s The Merchant of Venice in and beyond the Ghetto
- What the Quills Can Tell: The Case of John Fletcher and Philip Massinger’s Love’s Cure
- What if Greg and Werstine Had Examined Early Modern Spanish Dramatic Manuscripts?
- Exit Manuscripts: The Archive of Theatre and the Archive of Print
- ‘’Sblood!’: Hamlet’s Oaths and the Editing of Shakespeare’s Plays
- Antihonorificabilitudinitatibus: Love’s Labour’s Lost and Unteachable Words
- Shakespeare and Who? Aeschylus, Edward III and Thomas Kyd
- Authorial Attribution and Shakespearean Variety: Genre, Form and Chronology
- ‘My mother’s maids, when they did sew and spin’: Staging Sewing, Telling Tales
- Why Prospero Drowned His Books, and Other Catholic Folklore
- Why Did the English Stage Take Boys for Actresses?
- Acting Amiss: Towards a History of Actorly Craft and Playhouse Judgement
- ‘What imports this song?’: Spontaneous Singers and Spaces of Meaning in Shakespeare
- Shakespeare’s Depriving Particles
- Shakespeare’s Comedy of Upright Status: Standing Bears and Fallen Humans
- ‘Worth the name of a Christian’?: The Parabolic Economy of The Two Gentlemen of Verona
- ‘Titus, unkind’: Shakespeare’s Revision of Virgil’s Aeneas in Titus Andronicus
- ‘Cut him out in little stars’: Juliet’s Cute Classicism
- The Will of Caesar: Choice-making, the Death of the Roman Republic and the Development of Shakespearean Character
- ‘As for that light hobby-horse, my sister’: Shakespearean Influences and Popular Discourses in Blurt Master Constable
- Messianic Ugliness in A Midsummer Night’s Dream and The Winter’s Tale
- Shakespeare Performances in England, 2016
- Professional Shakespeare Productions in the British Isles, January–December 2015
- The Year’s Contribution to Shakespeare Studies
- Abstracts of Articles in Shakespeare Survey 70
- Shakespeare Survey 70 Index
- References
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- Shakespeare Survey 70Creating Shakespeare, pp. iiPublisher: Cambridge University PressPrint publication year: 2017
References
Shakespeare and his StageGoogle Scholar
Shakespearian ProductionGoogle Scholar
The Man and the WriterGoogle Scholar
InterpretationGoogle Scholar
Textual CriticismGoogle Scholar
The HistoriesGoogle Scholar
Style and LanguageGoogle Scholar
The ComediesGoogle Scholar
HamletGoogle Scholar
The Roman PlaysGoogle Scholar
The Last Plays (with an index to Surveys 1–10)Google Scholar
The Elizabethan TheatreGoogle Scholar
King LearGoogle Scholar
Shakespeare and his ContemporariesGoogle Scholar
The Poems and MusicGoogle Scholar
Shakespeare in the Modern WorldGoogle Scholar
Shakespeare in his Own AgeGoogle Scholar
Shakespeare Then Till NowGoogle Scholar
MacbethGoogle Scholar
Shakespearian and Other TragedyGoogle Scholar
Othello (with an index to Surveys 11–20)Google Scholar
Aspects of Shakespearian ComedyGoogle Scholar
Shakespeare’s LanguageGoogle Scholar
Shakespeare: Theatre PoetGoogle Scholar
Shakespeare’s Problem PlaysGoogle Scholar
Shakespeare’s Jacobean TragediesGoogle Scholar
Shakespeare’s Early TragediesGoogle Scholar
Shakespeare and the Ideas of his TimeGoogle Scholar
Shakespeare’s Last PlaysGoogle Scholar
Henry IV to HamletGoogle Scholar
Shakespeare and the Classical World (with an index to Surveys 21–30)Google Scholar
The Middle ComediesGoogle Scholar
King LearGoogle Scholar
Characterization in ShakespeareGoogle Scholar
Shakespeare in the Nineteenth CenturyGoogle Scholar
Shakespeare in the Twentieth CenturyGoogle Scholar
Shakespeare’s Earlier ComediesGoogle Scholar
Shakespeare and HistoryGoogle Scholar
Shakespeare on Film and TelevisionGoogle Scholar
Current Approaches to Shakespeare through Language, Text and TheatreGoogle Scholar
Shakespearian Stages and Staging (with an index to Surveys 31–40)Google Scholar
Shakespeare and the ElizabethansGoogle Scholar
The Tempest and AfterGoogle Scholar
Shakespeare and PoliticsGoogle Scholar
Hamlet and its AfterlifeGoogle Scholar
Shakespeare and SexualityGoogle Scholar
Playing Places for ShakespeareGoogle Scholar
Shakespeare and Cultural ExchangeGoogle Scholar
Romeo and Juliet and its AfterlifeGoogle Scholar
Shakespeare and LanguageGoogle Scholar
Shakespeare in the Eighteenth Century (with an index to Surveys 41–50)Google Scholar
Shakespeare and the GlobeGoogle Scholar
Shakespeare and NarrativeGoogle Scholar
Shakespeare and ReligionsGoogle Scholar
King Lear and its AfterlifeGoogle Scholar
Shakespeare and ComedyGoogle Scholar
Macbeth and its AfterlifeGoogle Scholar
Writing About ShakespeareGoogle Scholar
Editing ShakespeareGoogle Scholar
Theatres for ShakespeareGoogle Scholar
Shakespeare, Sound and ScreenGoogle Scholar
Close Encounters with Shakespeare’s TextGoogle Scholar
Shakespeare’s English Histories and their AfterlivesGoogle Scholar
Shakespeare as Cultural CatalystGoogle Scholar
A Midsummer Night’s DreamGoogle Scholar
Working with ShakespeareGoogle Scholar
Shakespeare’s Collaborative WorkGoogle Scholar
Shakespeare, Origins and OriginalityGoogle Scholar
Shakespeare and RomeGoogle Scholar
Creating ShakespeareGoogle Scholar