大葉大學圖書館 |

Revisiting Shakespeare's lost play[electronic resource] :Cardenio/Double falsehood in the eighteenth century /

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
杜威分類號:	822.33
書名/作者:	Revisiting Shakespeare's lost play : Cardenio/Double falsehood in the eighteenth century // edited by Deborah C. Payne.
其他作者:	Payne, Deborah C.
出版者:	Cham : : Springer International Publishing :, 2016.
面頁冊數:	xi, 138 p. : : ill., digital ;; 24 cm.
Contained By:	Springer eBooks
標題:	English drama - History and criticism. - 18th century
標題:	Literature.
標題:	Early Modern/Renaissance Literature.
標題:	Eighteenth-Century Literature.
標題:	Theatre History.
ISBN:	9783319465142
ISBN:	9783319465135
內容註:	Introduction; Fiona Ritchie -- Believers versus Skeptics: An Assessment of the Cardenio/Double Falsehood Problem; Robert D. Hume -- The Jolt of Jacobean Tragicomedy: Double Falsehood on the Eighteenth-Century English Stage; Diana Solomon -- Ghostwriting: Lewis Theobald's Double Falsehood as Adaptation; Jean I. Marsden -- Textual Skirmishes and Theatrical Frays: Putting Double Falsehood Back in the Eighteenth Century; Deborah C. Payne -- Bibliography -- Index.
摘要、提要註:	'This uniformly excellent collection does what none of the other recent scholarship on Double Falsehood or Cardenio does: it approaches the complex problems of authorship, performance, form and gender politics from the perspective of Restoration and eighteenth-century theatre. Anyone seriously interested in the Jacobean play, its Georgian adaptation, or in English drama from 1660 to 1740 should read this book.' - Gary Taylor, General Editor, The New Oxford Shakespeare This collection of essays centres on Double Falsehood, Lewis Theobald's 1727 adaptation of the "lost" play of Cardenio, possibly co-authored by John Fletcher and William Shakespeare. In a departure from most scholarship to date, the contributors fold Double Falsehood back into the milieu for which it was created rather than searching for traces of Shakespeare in the text. Robert D. Hume's knowledge of theatre history permits a fresh take on the forgery question as well as the Shakespeare authorship controversy. Diana Solomon's understanding of eighteenth-century rape culture and Jean I. Marsden's command of contemporary adaptation practices both emphasise the play's immediate social and theatrical contexts. And, finally, Deborah C. Payne's familiarity with the eighteenth-century stage allows for a reconsideration of Double Falsehood as integral to a debate between Theobald, Alexander Pope, and John Gay over the future of the English drama. Deborah C. Payne is an Associate Professor of Literature at American University. She specializes in seventeenth- and eighteenth-century drama, theatre history, and performance theory. Her publications include Cultural Readings of Restoration and Eighteenth-Century English Theatre, co-edited with J. Douglas Canfield; The Cambridge Companion to English Restoration Theatre; and Four Restoration Libertine Plays. Recently she completed The Commodiluxe Stage: A New History of Restoration Theatre, 1660-1700.
電子資源:	http://dx.doi.org/10.1007/978-3-319-46514-2

Revisiting Shakespeare's lost play[electronic resource] :Cardenio/Double falsehood in the eighteenth century /
Revisiting Shakespeare's lost playCardenio/Double falsehood in the eighteenth century /[electronic resource] :edited by Deborah C. Payne. - Cham :Springer International Publishing :2016. - xi, 138 p. :ill., digital ;24 cm.

Introduction; Fiona Ritchie -- Believers versus Skeptics: An Assessment of the Cardenio/Double Falsehood Problem; Robert D. Hume -- The Jolt of Jacobean Tragicomedy: Double Falsehood on the Eighteenth-Century English Stage; Diana Solomon -- Ghostwriting: Lewis Theobald's Double Falsehood as Adaptation; Jean I. Marsden -- Textual Skirmishes and Theatrical Frays: Putting Double Falsehood Back in the Eighteenth Century; Deborah C. Payne -- Bibliography -- Index.

'This uniformly excellent collection does what none of the other recent scholarship on Double Falsehood or Cardenio does: it approaches the complex problems of authorship, performance, form and gender politics from the perspective of Restoration and eighteenth-century theatre. Anyone seriously interested in the Jacobean play, its Georgian adaptation, or in English drama from 1660 to 1740 should read this book.' - Gary Taylor, General Editor, The New Oxford Shakespeare This collection of essays centres on Double Falsehood, Lewis Theobald's 1727 adaptation of the "lost" play of Cardenio, possibly co-authored by John Fletcher and William Shakespeare. In a departure from most scholarship to date, the contributors fold Double Falsehood back into the milieu for which it was created rather than searching for traces of Shakespeare in the text. Robert D. Hume's knowledge of theatre history permits a fresh take on the forgery question as well as the Shakespeare authorship controversy. Diana Solomon's understanding of eighteenth-century rape culture and Jean I. Marsden's command of contemporary adaptation practices both emphasise the play's immediate social and theatrical contexts. And, finally, Deborah C. Payne's familiarity with the eighteenth-century stage allows for a reconsideration of Double Falsehood as integral to a debate between Theobald, Alexander Pope, and John Gay over the future of the English drama. Deborah C. Payne is an Associate Professor of Literature at American University. She specializes in seventeenth- and eighteenth-century drama, theatre history, and performance theory. Her publications include Cultural Readings of Restoration and Eighteenth-Century English Theatre, co-edited with J. Douglas Canfield; The Cambridge Companion to English Restoration Theatre; and Four Restoration Libertine Plays. Recently she completed The Commodiluxe Stage: A New History of Restoration Theatre, 1660-1700.

ISBN: 9783319465142

Standard No.: 10.1007/978-3-319-46514-2doiSubjects--Topical Terms:

373119
English drama
--History and criticism.--18th century

LC Class. No.: PR2858 / .R48 2016

Dewey Class. No.: 822.33

Revisiting Shakespeare's lost play[electronic resource] :Cardenio/Double falsehood in the eighteenth century /
LDR:03395nam a2200313 a 4500 001 477332
003 DE-He213
005 20170204064618.0
006 m d
007 cr nn 008maaau
008 181208s2016 gw s 0 eng d
020 $a 9783319465142 $q (electronic bk.)
020 $a 9783319465135 $q (paper)
024 7 $a 10.1007/978-3-319-46514-2 $2 doi
035 $a 978-3-319-46514-2
040 $a GP $c GP
041 0 $a eng
050 4 $a PR2858 $b .R48 2016
072 7 $a DSB $2 bicssc
072 7 $a LIT024000 $2 bisacsh
082 0 4 $a 822.33 $2 23
090 $a PR2858 $b .R454 2016
245 0 0 $a Revisiting Shakespeare's lost play $h [electronic resource] : $b Cardenio/Double falsehood in the eighteenth century / $c edited by Deborah C. Payne.
260 $a Cham : $b Springer International Publishing : $b Imprint: Palgrave Macmillan, $c 2016.
300 $a xi, 138 p. : $b ill., digital ; $c 24 cm.
505 0 $a Introduction; Fiona Ritchie -- Believers versus Skeptics: An Assessment of the Cardenio/Double Falsehood Problem; Robert D. Hume -- The Jolt of Jacobean Tragicomedy: Double Falsehood on the Eighteenth-Century English Stage; Diana Solomon -- Ghostwriting: Lewis Theobald's Double Falsehood as Adaptation; Jean I. Marsden -- Textual Skirmishes and Theatrical Frays: Putting Double Falsehood Back in the Eighteenth Century; Deborah C. Payne -- Bibliography -- Index.
520 $a 'This uniformly excellent collection does what none of the other recent scholarship on Double Falsehood or Cardenio does: it approaches the complex problems of authorship, performance, form and gender politics from the perspective of Restoration and eighteenth-century theatre. Anyone seriously interested in the Jacobean play, its Georgian adaptation, or in English drama from 1660 to 1740 should read this book.' - Gary Taylor, General Editor, The New Oxford Shakespeare This collection of essays centres on Double Falsehood, Lewis Theobald's 1727 adaptation of the "lost" play of Cardenio, possibly co-authored by John Fletcher and William Shakespeare. In a departure from most scholarship to date, the contributors fold Double Falsehood back into the milieu for which it was created rather than searching for traces of Shakespeare in the text. Robert D. Hume's knowledge of theatre history permits a fresh take on the forgery question as well as the Shakespeare authorship controversy. Diana Solomon's understanding of eighteenth-century rape culture and Jean I. Marsden's command of contemporary adaptation practices both emphasise the play's immediate social and theatrical contexts. And, finally, Deborah C. Payne's familiarity with the eighteenth-century stage allows for a reconsideration of Double Falsehood as integral to a debate between Theobald, Alexander Pope, and John Gay over the future of the English drama. Deborah C. Payne is an Associate Professor of Literature at American University. She specializes in seventeenth- and eighteenth-century drama, theatre history, and performance theory. Her publications include Cultural Readings of Restoration and Eighteenth-Century English Theatre, co-edited with J. Douglas Canfield; The Cambridge Companion to English Restoration Theatre; and Four Restoration Libertine Plays. Recently she completed The Commodiluxe Stage: A New History of Restoration Theatre, 1660-1700.
650 0 $a English drama $y 18th century $x History and criticism. $3 373119
650 1 4 $a Literature. $3 194750
650 2 4 $a Early Modern/Renaissance Literature. $3 639793
650 2 4 $a Eighteenth-Century Literature. $3 655157
650 2 4 $a Theatre History. $3 655184
700 1 $a Payne, Deborah C. $3 688823
710 2 $a SpringerLink (Online service) $3 463450
773 0 $t Springer eBooks
856 4 0 $u http://dx.doi.org/10.1007/978-3-319-46514-2
950 $a Literature, Cultural and Media Studies (Springer-41173)