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"Shakespeare, William, 1564-1616 Authorship Collaboration."
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William Shakespeare and others : collaborative plays
The first edition in over 100 years of the fascinatingly varied body of plays that has become known as \"The Shakespeare Apocrypha\". Among the highlights are the whole text of Sir Thomas More, which includes the only scene from any play to survive in Shakespeare's own handwriting; the history play Edward III, including a superb seduction scene by Shakespeare; and the domestic murder tragedy Arden of Faversham, in which Shakespeare's hand has been detected by recent computer-assisted analysis. This is also the first ever Shakespeare edition to include the 1602 edition of Thomas Kyd's pioneering The Spanish Tragedy, with \"additions\" that the latest research attributes to Shakespeare. Included is a comprehensive account of the authorship and attribution of each play.
Book
Reflections on Co-Creativity in Early Modern Drama
While co-authorship was common practice in early modern drama, poetological treatises remain silent about it. They speak about the poet but not about collaboration. It is, hence, one of the aims of this article to arrive at conceptualisations of co-authorship through immanent reflections of co-creativity and authorial interaction. In particular, we will show that stylistic practices form an essential part of such reflections, which also helps us dissociate style from the identification of individual authorship. Shakespeare's Romeo and Juliet and Beaumont and Fletcher's Philaster, or Love Lies A-Bleeding have been chosen to show how juxtapositions and adaptations of style in both single-authored and co-authored works reveal practices of collaboration in early modern theatre. As a result of our investigation, elements of a poetics of collaborative playwriting will emerge.
Journal Article
What Is Early Modern Dramatic Collaboration?
In this article we scrutinise the anti-theatrical bias implicit in attempts to distinguish between Shakespeare and his collaborators; we attempt a taxonomy of the many different forms that collaborative practice took in the early modern theatre; and we examine the extent to which scholarly attitudes to early modern dramatic collaboration, particularly the tendency to see it as a vertical hierarchy rather than horizontal partnership, are shaped by modern ambivalence to academic collaboration in the humanities.
Journal Article
The Mirror and the Icon: A Theological Perspective on Nabokov’s Pale Fire
The search for the author(s) of Nabokov’s Pale Fire arises from a fundamental misunderstanding of the problem of repetition and its relation to the question of origins, temporal and timeless. For insofar as an origin is a thing ( res ) that is not always already in the movement of repetition (identical or otherwise), however distantly removed from its source (finite or otherwise), there can be no finite or immanent origin in the book or in the world. There is only its sign, which incorporates and refracts within its generative gaze all the temporalities and identities as non-identical repetition. In Pale Fire such as sign is represented by St. Sudarg of Bokay’s triptych of bottomless light.
Journal Article
Shakespeare Faciebat: Non-Finito Aesthetics in Timon of Athens
What do Shakespeare and Michelangelo have in common? William Shakespeare and Thomas Middleton's Timon of Athens is labelled as unfinished, akin to Michelangelo's Prisoners sculptures whose fragmentary shapes inspired non-finito aesthetics. As the only Shakespearean play to mention sculpture, I argue that Timon of Athens invites a nonfinito interpretation that captures the infinite performativity of dramatic characters who, like Michelangelo's Prisoners, cannot escape their form. Accepting Timon—as is—reveals the process of collaborative playwriting and offers a creative license for interpretation to performers and readers alike.
Journal Article
Disintegrating Marlowe
Christopher Marlowe (1564-1593) is often assumed to have an oeuvre that is authorially and textually well defined and neatly delimited, an oeuvre, that is, in keeping with his distinctive, well-defined biographical persona. This essay argues that this sense of a well-defined oeuvre is a convenient myth and that, if we are interested in a more accurate assessment of the extent and preservation of his writings, we first need to disintegrate Marlowe. Where we may wish to find either plain Marlowe or not Marlowe, we may instead have collaborative Marlowe, revised Marlowe, doubtful Marlowe, and mutilated Marlowe. The early editions of Doctor Faustus end with the words, \"terminat auctor opus,\" and each of these words turns out to be characteristic of the myth this essay investigates and may have played a role in constructing it. Marlowe did not single-handedly complete all his writings, several of them are not sole-authored, and his collaborative and partly fragmented writings may not amount to what we usually consider an opus. Instead, they turn out to be fully embedded in the exigencies of the messy, collaborative world of the early modern theater and book trade.
Journal Article
Shakespeare's Hand, or \the strangers' case\: Remediating Sir Thomas More in the context of the Refugee Crisis
Among the literary and artistic responses to the contemporary humanitarian crisis of refuge is Sir Thomas More, the late Elizabethan play that Shakespeare had a hand in and in which the protagonist offers a powerful articulation of \"the strangers' case.\" It is the modern uses of this speech that this article focuses on, in particular on digital platforms, and as a response to the contemporary refugee crisis and discourses about migrants. Notable uses of the speech include Ian McKellen's recitations and their remediation on Twitter (with the hashtag #strangerscase) and YouTube (McKellen 2010); the Bell Shakespeare Company, who produced a video featuring \"new arrivals to Australia\" (Change Media 2011); Stephen Greenblatt's inclusion of it to suggest that Shakespeare is a \"cure for xenophobia\" (Greenblatt 2017); the Shakespeare Association of America (James 2017), which cited More's words in reaction to Trump's travel ban; and a series of events at Shakespeare's Globe to mark international refugee week (@The_Globe 2018). Tracking such examples, the article employs theories of remediation and of media flow to examine critically how the More speech, that itself imagines flows of people, circulates as a digital object online, be it in the form of the tweet hashtag #strangerscase, or a YouTube video. It also makes use of the digital affordances of Borrowers and Lenders, embedding links and samples to construct a digital archive of the speech's remediation and circulation. These iterations draw Shakespeare, long imagined as a type of transnational traveller, into urgent ethical questions about borders, displaced peoples, and responsibility to the Other, as More's empathetic plea comes to function synecdochally for Shakespeare, the \"Hand D\" of the play's collaborative authorship. The article explores how a dismembered Bard returns through processes of remediation in digital settings, where unseen or nonhuman agents are increasingly constitutive of the thing we call \"Shakespeare.\" The article deliberately avoids rehearsing familiar debates about Shakespeare's cultural value, however, to address instead the challenges and also the possibilities of applying Shakespeare to humanitarian crises. I suggest that the remediated More / Shakespeare constitute spaces where values of empathy, tolerance, and diversity can find articulation.
Journal Article
The Strange Case of Susan Brotes
McMullan talks about the playwright John Fletcher. His resolutely collaborative playwright, setting out to distinguish him critically from Beaumont, Field, Massinger, Shakespeare, and his other purported coadjutors and addressing the \"unease\" is to be characteristic both of Fletcherian writing and of subsequent responses to his work.
Journal Article
Black Comedy: Shakespeare, Terence, and Titus Andronicus
[...]nearly every early modern edition of Terence's works included the Latin biography of the playwright by Suetonius, which informed Renaissance readers of Terence's birth in Carthage and his enslavement under the Roman senator Terentius Lucanus, along with the description of the famous playwright as colore fusco (of a dark color). In this, Aaron, like Tranio, finds precedent in the role of the slave Parmeno from Terence's Eunuchus, who suggests to Phaedria's younger brother Chaerea how he might win the object of his affections, Pamphila. Since Pamphila is being guarded at the house of the prostitute Thais, Parmeno facetiously suggests the idea that Chaerea should pose as the eunuch who is to be given as a gift to the household. [...]Aaron's very \"cultural literacy\" informs his antagonism to the Roman characters. According to Arthur L. Little, Jr., Aaron's role in effecting the rape, while not himself committing it, is characteristic of early modern drama, in which \"blackness serves to mark rape with racial pollution without insisting on a literalization of this contamination\" (Shakespeare Jungle Fever: National-Imperial Re-Visions of Race, Rape, and Sacrifice [Stanford: Stanford Univ.
Journal Article