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Thomas Middleton and Early Modern Textual Culture is a comprehensive companion to The Collected Works of Thomas Middleton, providing detailed introductions to and full editorial apparatus for the works themselves as well as a wealth of information about Middleton's historical and literary context. It will be indispensable to scholars of Renaissance literature as well as essential reading for anyone interested in the history of the book in early modern Europe. - ;Thomas Middleton and Early Modern Textual Culture is not only a companion to The Collected Works of Thomas Middleton, which every scholar of Renaissance literature will find indispensable. It is also essential reading for anyone interested in the history of the book in early modern Europe. The book is divided into three parts. The first part, on The Culture, situates Middleton within an historical and theoretical overview of early modern textual production, reproduction, circulation, and reception. An introductory essay by Gary Taylor (The Order of Persons) surveys lists of persons written by or connected to Middleton, using the complex relationship between textual and social orders to trace the evolution of textual culture in England during the Middleton century (1580-1679). Ten. original essays then focus on Middletons connections to different aspects of textual culture in that century: authorship (by MacD. P. Jackson), manuscripts (Harold Love), legal texts (Edward Geiskes), censorship (Richard Burt), printing (Adrian Weiss), visual texts (John Astington), music (Andrew. Sabol), stationers and living authors (Cyndia Clegg), posthumous publishing (Maureen Bell), and early readers (John Jowett). The rest of the volume, supplies the documentation for claims made in the first part. Part II, the author includes detailed evidence for the canon and chronology of Middletons works in all genres, greatly extending previous scholarship, and using the latest corpus-based attribution techniques. This section situates individual authorial agency in the space between larger institutional forces and the material specificity of particular textual embodiments. Part III, The Texts, contains a full. editorial apparatus for each item in The Collected Works: an Introduction, which summarizes and extends previous scholarship, is followed by textual notes, recording substantive departures from the control-text, variants between early texts, press-variants, discussions of emendations, and (for plays) an. exact transcription of all original stage directions. Cross-references make it easy to move between the two volumes. This authoritative account of the early texts includes some extraordinarily complicated cases, which have never before been systematically collated: Hence, all you vain delights (the most popular song lyric from the Renaissance stage), The Two Gates of Salvation, The Peacemaker, and A Game at Chess (the most complex editorial problem in early modern drama, with eight extant texts and numerous reports of the early performances). - ;...elaborately cross-referenced...a good deal of effort has gone into making the Companion as user-friendly as possibe... - Michael Neill LRB;The Oxford Middleton is a monumental achievement. Gary Taylor and his team of scholars have managed to do for Thomas Middleton what Heminges and Condell did for Shakespeare in the 1623 First Folio: they've collected a great playwright's work in a landmark edition, one that enables us to appreciate afresh an extraordinary literary career. Taken together, The Collected Works of Thomas Middleton and its companion volume Thomas Middleton and Early Modern Textual. Culture, provide an essential guide to matters at the heart of the English literary world in the early seventeenth century, from authorship and collaboration to censorship, civic pageantry, and the London book trade. - James Shapiro, author of 1599: A Year in the Life of William Shakespeare and Professor of English, Columbia University;a monumental work of scholarship - Jonathan Bate, Times Literary Supplement;It is not, I think, overstating the case to say that the release of this edition feels epochal, and the sense of recognition at what it has added, as well as what it will inspire over the ensuing decades, is already palpable. The Oxford Middleton is a truly momentous work, and it is now in the hands of you, the Great Variety of Readers. - Will Sharpe, The Shakespeare Bookshop Newsletter;All of us who care deeply about the history of English drama welcome with great enthusiasm and excitement the publication of the Collected Works of Thomas Middleton, a major achievement in textual scholarship that represents the collective expertise and critical wisdom of scholars from all over the world. Gary Taylor and his many collaborators have given us a new and remarkably versatile Thomas Middleton-a great tragic playwright, a brilliant creator of sly and cynical. urban comedies, a thoroughly gifted man of the theater and citizen of London. With this massive collected edition, the history of English drama is much more complete and we can hope for many more professional productions of these neglected plays. - Gail Paster, Director, Folger Shakespeare Library;It is hard to exaggerate the scale of the Oxford Middleton particularly since this is the kind of scholarship which is--in its diversity and eclecticism--designed to open up debate rather than close it off. It is a colossal achievement representing a decisive expansion of Renaissanc studies which will percolate throughout scholarship and teaching. But what is, perhaps, most exciting, is that the collection must surely generate a rediscovery of these eminently stageable plays in the. theatre. - Andrew James Hartley, Editor, Shakespeare Bulletin;The publication of The Complete Works of Middleton will be a major event for all those who care about the theatre of Shakespeare's time. The scholarship is meticulous, the commentary is fascinating and the international team of experts displays the field of Renaissance Drama studies at its finest. In modern times, productions of The Changeling and Women Beware Women have shown the dark side of sex and power that Shakespeare touched on but never fully explored. The Complete Works now shows us the full range of Middleton's talent for comedy and social drama and, controversially, the full extent of his collaboration with and development of Shakespeare's plays. - Kathleen E. McLuskie, The Shakespeare Institute;Few editorial projects have been as eagerly anticipated as the Oxford Middleton, which will utterly transform how we understand early modern drama, both in the classroom and in our research. As with Shakespeare, Gary Taylor and his team have set a new gold standard for textual editing and interpretive criticism, leaping from the 19th century to the 21st - finally an edition that captures Middleton's tremendous accomplishments. - Henry Turner, Rutgers University, New Jersey, author of The English Renaissance Stage: Geometry, Poetics, and the Practical Spatial Arts, 1580-1630 (Oxford, 2006).

\"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.

Thomas Middleton is one of the major English Renaissance dramatists alongside Marlowe, Shakespeare and Jonson. Middleton continues to fascinate audiences and readers with his black humour, his wry and witty treatment of sexuality, morality, and politics. He is a consummate professional dramatist, experimenting with stagecraft in a manner that combines the visual and the verbal to startling effect. This book brings together these aspects of Middleton's craft through a detailed study of his major plays. Middleton experimented with, and helped to shape, a range of dramatic genres: city comedy, tragicomedy, romance, and revenge tragedy. This new guide analyses in detail how the plays work in terms of the early modern theatre and dramatic genres, as well as elucidating the broader cultural issues shaping the plays. It provides an introduction to critical readings of Middleton's works as well as modern performances, demonstrating how modern critics, producers, dramatists and film makers see Middleton's dark, playful and challenging plays as speaking to our times. Key Features Ideal student guide with its wide ranging introduction to Middleton's city comedies, tragedies, and collaborative plays and its readings of key texts such asThe Roaring Girl,Chaste Maid in Cheapside,Revenger's Tragedy,Women Beware Women, andThe ChangelingUses the most recent edition available, the Oxford Middleton (2007)Provides background contexts guiding readers through criticism of the plays as well as recent work on early modern theatre and cultureEmphasis on Middleton's stagecraft and its assessment of modern adaptations and film versions of his plays

On examine ici la résolution théologienne, au Moyen Âge central, de demeurer une science qui ne soit pas la transcription des anxiétés à la fois universelles et contextuelles qui ont envahi l’Europe de la fin du Moyen Âge. La démonologie, à la fin du xiii e siècle, est devenue un secteur autonome de la théologie, illustré par les trois traités sur les démons rédigés entre 1270 et 1300, constitués par un assemblage de questions disputées par Thomas d’Aquin, Pierre de Jean Olivi et Richard de Mediavilla. Paradoxalement, ce sont des considérations anthropologiques neuves qui ont frayé un chemin à la réflexion sur le démon (exemples de la tentation suicidaire et de l’oubli). Enfin, la démonologie se constitua en cadre rationnel pour penser la causalité (exemple du pacte sacramentel) et l’antagonisme des actions surnaturelles, tout en promouvant une théologie du risque. Examined here is theology's resolution in the central Middle Ages to remain a science that would not be the mere transcription of anxieties, at once universal and contextual, that pervaded Europe in the late Middle Ages. Towards the end of the 13th century demonology became an autonomous sector of theology, as is illustrated by three treatises on demons written between 1270 and 1300, constituted by an assemblage of questions disputed by Thomas Aquinas, Peter John Olivi and Richard of Middleton. Paradoxically, it was new anthropological considerations that blazed a trail for reflection on the demon (for example, suicidal temptation and forgetfullness). Finally, demonology formed a rational framework for thinking about causality (for example, the sacramental pact) and the antagonism of supernatural actions, all the while promoting a theology of risk.

In a writing career of over 60 years, Ben Travers is regarded as the master of the 'Aldwych Farces'. This collection is being published at a time where farces are coming back into fashion following the smash hit of One Man Two Guvnors, and the success of The Magistrate both at the National Theatre, as well as the recent productions of Noises Off and What the Butler Saw. The four plays in this collection are representative of Travers' work at its best and most characteristic.The plays include the classic farces Rookery Nook (1926), Thark (1927), Plunder (1927) & The Bed Before Yesterday (1977).Several of these plays have enjoyed modern revivals, Plunder in 1977 at the National Theatre, and Rookery Nook in 2009 at the Menier Chocolate Factory.

The Changelingis a powerful psychological tragedy of the moral degeneration of a highborn Spanish girl through a crime prompted by obsessive love. Thomas Middleton was probably responsible for the tragic plot, and William Rowley for the comic subplot concerning the antics of a young rake who contrives to have himself committed to an insane asylum for love of the proprietor's handsome wife.

A comprehensive introduction to Thomas Middleton's Women Beware Women - introducing its critical history, performance history, the current critical landscape and new directions in research.