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Description
The Oxford Handbook of Shakespeare and Early Modern Authorship draws together leading and emerging scholars of Shakespeare and early modern literature to consider anew how authorship worked in the time in which Shakespeare wrote, and to interrogate the construction of the Shakespeare-as-author figure. Composed of four main sections, it offers fresh analysis of the literary and cultural influences and forces that 'formed' authors in the period; the 'mechanics' of early modern authorship; the 'mediation' of Shakespeare and others' works in performance, manuscript, and print; and the critical and popular reimagining across times of Shakespeare as an author figure. Diving into modern debates about early modern authorship, authority, and identity politics, contributors supply rich new accounts of the wider scene of professional authorship in early modern England, of how Shakespeare's writings contributed to it, and of what made him distinctive within it. Looking beyond Shakespeare, the Handbook seeks to provide a vital testing ground for new research into early modern literature and culture more broadly.
Table of Contents
- 1: Rory Loughnane: Introduction
- PART I: SHAKESPEARE AND AUTHOR FORMATION
- 2: Heather James: Classical Inheritance
- 3: Tamara Atkin: Medieval Inheritance
- 4: Adrian Streete: Religion
- 5: Mel Evans: Language and Sociolect
- 6: Gilberta Golinelli Iolanda Plescia: Gender
- 7: Bruce R. Smith: Sexuality
- 8: Andrew Hadfield: Kinds of Author
- 9: Andrew Gordon: Textual Environments
- 10: Tara Hamling and Catherine Richardson: Material Environments
- 11: Terri Bourus: Theatrical Environments
- 12: Jeremy Lopez: Competition
- 13: Meryl Faiers and Martin Wiggins: Economics
- PART II: SHAKESPEARE AND THE MECHANICS OF AUTHORSHIP
- 14: Dennis Britton and Melissa Walter: Research
- 15: Joshua Calhoun and Jonathan Walker: Tools and Materials
- 16: Andrew Mattison: Solo Authorship
- 17: Heather A. Hirschfeld: Collaboration
- 18: Andrew J. Power: Casting
- 19: Amanda Eubanks Winkler: Music
- 20: Will Sharpe: Adaptation and Revision
- 21: Brett Greatley-Hirsch and Sarah Neville: Genre
- 22: Lisa Hopkins: Form
- 23: Hugh Craig: Style
- PART III: MEDIATING SHAKESPEARE AS AUTHOR
- 24: James J. Marino: Early Performance
- 25: Amy Lidster: Preliminaries and Paratexts
- 26: Jennifer Young: Textual Space
- 27: Claire M. L. Bourne: Typography
- 28: John Jowett: Variant Texts
- 29: Tara L. Lyons: Collections
- 30: Eric Rasmussen and Ian De Jong: Annotation
- 31: José A. Pérez Díez: Editions and Canonization, 1623-2024
- PART IV: CONCEPTS AND CRITIQUES
- 32: Patrick Cheney: Literary Author
- 33: Eoin Price and Catherine Clifford: Court Dramatist
- 34: Chris Fitter: Populist
- 35: Claire McEachern: National Playwright
- 36: Jesús Tronch: Attribution and Editing
- 37: Rachel White: Attribution and Intersectionality
- 38: Cristina León Alfar: Feminist Authorship Studies
- 39: Alan Stewart: Queer Authorship Studies
- 40: Michael Joel Bartelle: Authorship and Othering
- 41: Alexa Alice Joubin: Screening Authorship, Performativity, and Transness
- 42: Laurie Johnson: Authorship and Cognitive Studies
- 43: Vin Nardizzi: Ecologies of Authorship
- 44: Gary Taylor: The Politics of Attribution
