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"Authorship Collaboration History 17th century."
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Middleton and Rowley : forms of collaboration in the Jacobean playhouse
\"Can the inadvertent clashes between collaborators produce more powerful effects than their concordances? For Thomas Middleton and William Rowley, the playwriting team best known for their tragedy The Changeling, disagreements and friction proved quite beneficial for their work.
Book
A LOCALISED BOUNDARY OBJECT: SEVENTEENTH-CENTURY WESTERN MUSIC THEORY IN CHINA
In 1685, the Portuguese Jesuit Thomas Pereira was ordered by the Qing Kangxi emperor to write books on Western music theory in Chinese. Presented in the books were seventeenth-century practical and speculative music theories, including the coincidence theory of consonance. Invoking the concept of ‘boundary object’, this article shows that the cultural exchange, which gave rise to new knowledge by means of selection, synthesis and reinterpretation, was characterised by a lack of consensus between the transmitter and the receivers over the functions of the imported theories. Although the coincidence theory of consonance could potentially effect the transition from a pure numerical to a physical understanding of pitch, as in the European scientific revolution, it failed to flourish in China not only because of different theoretical concerns between European and Chinese musical traditions, but also because of its limited dissemination caused by Chinese print culture.
Journal Article
Happy Accidents: Critical Belatedness, Feminist Formalism, and Early Modern Women's Writing
In many ways, the field of early modern women's writing operates as a kind of
alternate reality to the wider field of Renaissance literary studies. Despite a
rich body of scholarship that reflects diverse critical practices, the field has
nevertheless developed according to a different critical timeline than the study
of early modern English literature more broadly. As a result, scholars who do
not already focus on women's writing have the option of regarding it as a niche
interest rather than a required component of Renaissance studies. What might be
done to change this state of affairs? As a way to begin answering that question,
we offer an analysis of the temporal and critical disjunctions that often mark
early modern women's writing as a field of study. As we suggest in this essay,
these disjunctions represent important opportunities rather than indelible
problems: instead of impeding conversation about women's writing and its place
within early modern literary study, a better understanding of the alternate
temporality that the field of early modern women's writing often seems to
inhabit can help guide our way forward. This essay explores the challenges that
currently face early modern women's writing as a discipline and suggest
strategies for recentering that work within the wider field of English
Renaissance literary scholarship. It argues that a feminist formalist approach
to the writing of early modern women can serve to counter the narrative of
critical belatedness that is often associated with the field by opening up new
opportunities for interpreting early modern literature writ large.
Journal Article
Between Women: Archival and Theoretical Methods in Early Modern Women's Writing
This article proposes that combining deep archival inquiry and rigorous
theoretical analysis generates one potential methodological future for the field
of early modern women's writing. By investigating the manuscript circulation of
Katherine Philips's poetry within her close-knit coterie through the lens of
queer theory, it demonstrates that this combination can both further deep
archival research into women's writing and precipitate the refinement of
theoretical models. In particular, it notes that men's interactions with women's
writing in Philips's Society, especially, in one case, as the scribe of one of
its signal manuscript collections, reveals a consensual form of female
homosocial triangulation that is distinct from Eve Kosofsky Sedgwick's model of
repressive male homosocial triangulation. In the method the article thus
sketches, theory calibrates archival inquiry while the historical details
recovered by archival inquiry provoke rearticulation of theoretical models. This
dialogical procedure traces one potential path forward for the study of early
modern women's writing.
Journal Article
'Serving the turn': collaboration and proof in illegal hand-press period books
This article considers the proofing of illegally-printed texts, primarily during the sixteenth and seventeenth centuries. We argue that proofing – the practice of correcting a text during the printing process – is key to understanding the social dynamics of authorship, and the strains on production resulting from political suppression of the press during this period. We look at the evidence of proofing left in books (usually religious pamphlets), as well as the testimony of authors and printers. These sources reveal that illegal printing necessitated a remarkable degree of team work.
Journal Article
Notes Toward a Supreme Fiction: Shakespeare at 400
The year 2016 is the 400
th
anniversary of Shakespeare’s death. His plays are read, interpreted, and performed throughout the United States and the world, and from the early seventeenth century onward, the praise bestowed on him is hyperbolic, as if he were superhuman, even divine. Biographies of Shakespeare abound and often are informative, but not about Shakespeare himself, for we know very little about his day to day activity. Biographers thus imagine and invent the life, using speculation and conjecture as substitutes for evidence and fact. We do know much about the Elizabethan and Jacobean theater and about London acting companies. We know too that for his company, Shakespeare was an actor and a sharer (an investor who shared in the profits) as well as a playwright. But none of the original scripts that Shakespeare wrote or co-wrote has survived. There are no manuscripts in Shakespeare’s hand, nor did he prepare and authenticate any of the published texts we possess. Hence we do not know for certain what the world’s greatest writer actually wrote. Shakespeare’s plays are a supreme fiction, and this more than anything explains his astonishing longevity and renown.
Journal Article
La reescritura en colaboración: \El príncipe perseguido\ de Luis Belmonte, Agustín Moreto y Antonio Martínez de Meneses frente a la comedia fuente \El gran duque de Moscovia y Emperador perseguido\ de Lope de Vega
El príncipe perseguido ofrece un interesante ejemplo de reescritura teatral. La comedia fue escrita por tres autores -Luis Belmonte Bermúdez, Agustín Moreto y Antonio Martínez de Meneses - antes del i6 de abril de 1645. Los tres dramaturgos se sirvieron de una relativamente temprana comedia de Lope de Vega, El gran duque de Moscovia y Emperador perseguido (Parte séptima, 1616). La comparación de los dos textos -la comedia colaborada y su fuente- permite conocer los modos de la escritura de consuno en el teatro del Siglo de Oro español. El análisis se concentra en el argumento (basado en la historia del falso Demetrio), que manifiesta un alto grado de compenetración a nivel macro- y microtextual entre los tres poetas. El estudio se centra en uno de los momentos más complejos en la historia de los espectáculos públicos en la España del Siglo de Oro (1644-1651).
Journal Article
Changing the Conversation
Since the 1970S, scholars on both sides of the Atlantic have devoted considerable critical ink to illuminating the role of women writers in early modern France, and to examining the cultural institution they inhabited, the ruelle or salon. According to this perspective, salon sociability consisted of discussions around minor literary genres, parlor games, food, and were feminocentric. According to this assessment, the women who inhabit these social spaces are passive consumers, often in need of guidance from a male luminary, in the case of the ruelles, or study questions such as those found in many books catering to audiences of book clubs. According to critical coinage, salon culture is monolithic; there is little difference between its incarnation in the seventeenth century and its eighteenth-century avatar.
Journal Article