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Titlebook: Rematerializing Shakespeare; Authority and Repres Bryan Reynolds (Professor and Head of Doctoral Stu Book 2005 Palgrave Macmillan, a divisi

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https://doi.org/10.1057/9780230505032Hamlet; poetics; William Shakespeare; British and Irish Literature
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‘Strike All that Look Upon With Marvel’: Theatrical and Theological Wonder in discovered fail to produce the feelings of wonder they describe (5.2.10, 13–14, 21). And, by invoking the language of religious awe at the dramatic unveiling of the statue, he entertains a relation between theological and theatrical wonder.
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The Politics of Shakespeare’s Prosedoes this system strike us still that, despite a renewed interest in the material basis of culture and of cultural representations, we too seldom attend to its profoundly heterogeneous outlines and effects. To shed light on a crucial element of Shakespeare’s career, I examine his adoption of this wo
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Mercutio’s Bad Languagee, for . is traditionally identified as one of Shakespeare’s most lyrical plays, rhetorically for its use of highly marked and often static, monologic poetic language; literary-historically as part of a mid-1590s group of similar tone; and structurally and thematically in its adaptation of the conve
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Authority and the Early Modern Theatre: Representing Robert Weimann somewhat nervous attention.2 There has, of course, been a significant burgeoning of historical research into Renaissance culture among literary scholars during the last two decades, despite tendentious proclamations of ‘the end of history’,3 all of which have forced a radical reconsideration of som
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Figuring the Consumer for Early Modern Dramaok/And set a figure to each single Cipher; I’ll cheat a shilling in a penny, and a pound in twelve pence.’ When Spruce, the courtier enters, Thrift asks ‘if you go on tick here too, /what did it cost you to come in’. He also tells Spruce that ‘There is a Courtier Sir that owes to me/Two thousand pou
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Bryan Reynolds (Professor and Head of Doctoral Stu
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