Book contents
- Shakespeare Survey
- Series page
- Shakespeare Survey
- Copyright page
- Editor’s Note
- Contributors
- Contents
- Illustrations
- Why Did Shakespeare Collaborate?
- What is Not Collaborative about Early Modern Drama in Performance and Print?
- Framing Shakespeare’s Collaborative Authorship
- Collaboration and Proprietary Authorship: Shakespeare et al.
- Topical Shakespeare
- Shakespeare After All?: The Authorship of Titus Andronicus 4.1 Reconsidered
- A Shakespeare/North Collaboration: Titus Andronicus and Titus and Vespasian
- The Two Authors of Edward III
- Shakespeare, Poetic Collaboration and The Passionate Pilgrim
- Contextualizing ‘The Phoenix and Turtle’: Shakespeare, Edward Blount and the Poetical Essays Group of Love’s Martyr
- Shakespeare’s Singularity and Sir Thomas More
- Double Falsehood: The Forgery Hypothesis, the ‘Charles Dickson’ Enigma and a ‘Stern’ Rejoinder
- Nostalgic Spectacle and the Politics of Memory in Henry VIII
- Royal Entries and the Form of Pageantry in All Is True
- Acting Historical with Shakespeare, or, William-Henry Ireland’s Oaken Chest
- Re-cognizing Shakespearian Tragedy
- Shakespeare’s Literature of Exhaustion
- Big-Shouldered Shakespeare: Three Shrews at Chicago Shakespeare Theater
- Why Ganymede Faints and the Duke of York Weeps: Passion Plays in Shakespeare
- The Merchant of Venice at the National Theatre of Greece (1945) and the Silencing of the Holocaust
- Cinnas of Memory
- The Measure of Sexual Memory
- Othello Across Borders: On an Interlocal and Intermedial Exercise
- John Berryman’s Emendation of King Lear 4.1.10 and Shakespeare’s Scientific Knowledge
- Spectacle, Representation and Lineage in Macbeth 4.1
- ‘Pleasing Strains’: The Dramaturgical Role of Music in The Winter’s Tale
- Confinement and Freedom in The Tempest
- Shakespeare Performances in England 2013
- Professional Shakespeare Productions in the British Isles January–December 2012
- The Year’s Contribution to Shakespeare Studies
- Index
What is Not Collaborative about Early Modern Drama in Performance and Print?
Published online by Cambridge University Press: 05 October 2014
By
Edited by
Book contents
- Shakespeare Survey
- Series page
- Shakespeare Survey
- Copyright page
- Editor’s Note
- Contributors
- Contents
- Illustrations
- Why Did Shakespeare Collaborate?
- What is Not Collaborative about Early Modern Drama in Performance and Print?
- Framing Shakespeare’s Collaborative Authorship
- Collaboration and Proprietary Authorship: Shakespeare et al.
- Topical Shakespeare
- Shakespeare After All?: The Authorship of Titus Andronicus 4.1 Reconsidered
- A Shakespeare/North Collaboration: Titus Andronicus and Titus and Vespasian
- The Two Authors of Edward III
- Shakespeare, Poetic Collaboration and The Passionate Pilgrim
- Contextualizing ‘The Phoenix and Turtle’: Shakespeare, Edward Blount and the Poetical Essays Group of Love’s Martyr
- Shakespeare’s Singularity and Sir Thomas More
- Double Falsehood: The Forgery Hypothesis, the ‘Charles Dickson’ Enigma and a ‘Stern’ Rejoinder
- Nostalgic Spectacle and the Politics of Memory in Henry VIII
- Royal Entries and the Form of Pageantry in All Is True
- Acting Historical with Shakespeare, or, William-Henry Ireland’s Oaken Chest
- Re-cognizing Shakespearian Tragedy
- Shakespeare’s Literature of Exhaustion
- Big-Shouldered Shakespeare: Three Shrews at Chicago Shakespeare Theater
- Why Ganymede Faints and the Duke of York Weeps: Passion Plays in Shakespeare
- The Merchant of Venice at the National Theatre of Greece (1945) and the Silencing of the Holocaust
- Cinnas of Memory
- The Measure of Sexual Memory
- Othello Across Borders: On an Interlocal and Intermedial Exercise
- John Berryman’s Emendation of King Lear 4.1.10 and Shakespeare’s Scientific Knowledge
- Spectacle, Representation and Lineage in Macbeth 4.1
- ‘Pleasing Strains’: The Dramaturgical Role of Music in The Winter’s Tale
- Confinement and Freedom in The Tempest
- Shakespeare Performances in England 2013
- Professional Shakespeare Productions in the British Isles January–December 2012
- The Year’s Contribution to Shakespeare Studies
- Index
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- Shakespeare Survey , pp. 18 - 28Publisher: Cambridge University PressPrint publication year: 2014
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