|Orders||Titles A-Z||Series||New Titles||Forthcoming||Press History||Submissions||FAQ||Competitions||Contact Us|
Listings are as accurate as possible, based upon information available as the catalog went to press. All new title information is approximate. Actual prices for new titles are set at the time of publication.Dramatic Extracts in Seventeenth-Century English Manuscripts: Watching, Reading, Changing Plays
by Laura Estill
Throughout the seventeenth century, early modern play readers and playgoers copied dramatic extracts (selections from plays and masques) into their commonplace books, verse miscellanies, diaries, and songbooks. Dramatic Extracts in Seventeenth-Century English Manuscripts: Watching, Reading, Changing Plays is the first to examine these often overlooked texts, which reveal what early modern audiences and readers took, literally and figuratively, from plays. As this under-examined archival evidence shows, play readers and playgoers viewed plays as malleable and modular texts to be altered, appropriated, and, most importantly, used. These records provide information that is not available in other forms about the popularity and importance of early modern plays, the reasons plays appealed to their audiences, and the ideas in plays that most interested audiences. Tracing the course of dramatic extracting from the earliest stages in the 1590s, through the prolific manuscript circulation at the universities, to the closure and reopening of the theatres, Estill gathers these microhistories to create a comprehensive overview of seventeenth-century dramatic extracts and the culture of extracting from plays. Dramatic Extracts in Seventeenth-Century English Manuscripts: Watching, Reading, Changing Plays explores new archival evidence (from John Milton's signature to unpublished university plays) while also analyzing the popularity of perennial favorites such as Shakespeare's The Tempest. The study of dramatic extracts is the study of particulars: particular readers, particular manuscripts, particular plays or masques, particular historic moments. As D. F. McKenzie puts it, "different readers [bring] the text to life in different ways." By providing careful analyses of these rich source texts, this book shows how active play-viewing and play-reading (that is, extracting) ultimately led to changing the plays themselves, both through selecting and manipulating the extracts and positioning the plays in new contexts.
December 2014 ISBN: 978-1611495140 $80.00 French Renaissance and Baroque Drama: Text, Performance, Theory
Edited by Michael Meere
Contributions by Sara Beam; Christian Biet; Alison Calhoun; Fabien Cavaillé; Sybile Chevallier-Micki; Caroline Gates; Elizabeth Guild; Richard Hillman; John D. Lyons; Andreea Marculescu; Corinne Noirot; Stephanie O’Hara; Antónia Szabari; Phillip Usher and Ellen Welch. The fifteen articles in this volume highlight the richness, diversity, and experimental nature of French and Francophone drama before the advent of what would become known as neoclassical French theater of the seventeenth century. In essays ranging from conventional stage plays (tragedies, comedies, pastoral, and mystery plays) to court ballets, royal entrances, and meta- and para-theatrical writings of the period from 1485 to 1640, French Renaissance and Baroque Drama: Text, Performance, Theory seeks to deepen and problematize our knowledge of texts, co-texts, and performances of drama from literary-historical, artistic, political, social, and religious perspectives. Moreover, many of the articles engage with contemporary theory and other disciplines to study this drama, including but not limited to psychoanalysis, gender studies, anthropology, and performance theory. The diversity of the essays in their methodologies and objects of study, none of which is privileged over any other, bespeaks the various types of drama and the numerous ways we can study them.
February 2015 ISBN: 978-1611495485 $90.00
Site maintained by Linda Stein - www2.lib.udel.edu/udpress - Created 1/21/2004 - Last modified 01/22/15