Shakespeare Survey 70 Volume 70

The seventieth volume in the annual series of volumes devoted to Shakespeare study and production. The articles are drawn from the World Shakespeare Congress, held 400 years after Shakespeare's death, in July/August 2016 in Stratford-upon-Avon and London. The theme is 'Creating Shakespeare'.

The 71st in the annual series of volumes devoted to Shakespeare study and production. The articles, like those of volume 70, are drawn from the World Shakespeare Congress, held 400 years after Shakespeare's death, in July/August 2016 in Stratford-upon-Avon and London. The theme is 'Re-Creating Shakespeare'.

Shakespeare Survey is a yearbook of Shakespeare studies and productions. Since 1948, the Survey has published the best international scholarship in English and many of its essays have become classics of Shakespeare criticism. Each volume is devoted to a theme, or play, or group of plays; each also contains a section of reviews of that year's textual and critical studies and of the year's major British performances. The theme for Volume 67 is 'Shakespeare's Collaborative Work'. The complete set of Survey volumes is also available online at http://www.cambridge.org/online/shakespearesurvey. This fully searchable resource enables users to browse by author, essay and volume, search by play, theme and topic, and save and bookmark their results.

The first fifty volumes of this yearbook of Shakespeare studies are being reissued in paperback.

The theme for Shakespeare Survey 63 is 'Shakespeare's English Histories and their Afterlives'.

Shakespeare Survey is a yearbook of Shakespeare studies and production. The theme for Shakespeare Survey 60 is 'Theatres for Shakespeare'.

The first fifty volumes of this yearbook of Shakespeare studies are being reissued in paperback.

The first accurate quantitative re-attribution of all central texts of the British Renaissance. Describes and applies the first unbiased and accurate method of computational-linguistics authorial-attribution. Covers 303 texts with 8,106,059 words, 123 authorial bylines, a range of genres, and a timespan between 1510 and 1662. Includes helpful diagrams that visually show the quantitative-matches and the identical most-frequent phrases between the texts in each linguistic-signature-group. Detailed chronologies for each of the six ghostwriters and the bylines they wrote under, including their dates of birth, death, publications, and other biographical markers that explain why each of them was the only logical attribution. A full bibliography of the 303 tested texts. All of the raw and processed data, not only in summary-tables inside of the book, but also in-full on a publicly-accessible website: https://github.com/faktorovich/Attribution. One table includes all of the data from the first-edition title-pages (byline, printer, bookseller, date, proverbs), and the first-performance (date, troupe). A table on structural elements across all “Shakespeare”-bylined texts summarizes their plot-movements, character-types, settings, slang-usage, primary sources, and poetic design (percentage of rhyme and hendiadys). To explain why these are the first truly accurate re-attributions, numerous reasons for discrediting previous attribution claims are provided throughout. Re-Attribution of the British Renaissance Corpus describes a newly invented for this study computational-linguistics authorial-attribution method and applies it and several other approaches to the central texts of the British Renaissance. All of the attribution steps are described precisely to give readers replicable instructions on how they can apply them to any text from any period that they are interested in determining an attribution for. This method can be applied to solving criminal linguistic mysteries such as who wrote the Unabomber Manifesto, or theological mysteries such as if any of the Dead Sea Scrolls might have been forged by a modern author. This method is uniquely accurate because it uses 27 different quantitative tests that measure a text’s dimensions and its similarity or divergence to other texts automatically, without the statisticians being able to skew the outcome by altering the experiment’s analytical design. Re-Attribution guides researchers not only on how to perform the basic calculations, but also how to perform the biographical and documentary research to derive who among the potential bylines in a single signature-group is the ghostwriter, while the others are merely ghostwriter-contractors or pseudonyms. Reliable accuracy is achieved by also performing other types of attribution tests to check if these alternative approaches validate or contradict the 27-tests’ findings. Non-quantitative tests discussed include deciphering the hidden implications of contemporary pufferies, as well as comparing structural elements such as characters, plot, and element borrowings. Part II presents a revised version of the history of the birth of the theater in Britain by reviewing forensic accounting evidence in Philip Henslowe’s Diary, and the documented history of homicidal lending practices and government corruption connected with troupes and theaters. Parts III-VIII explain precisely how this series derived that the British Renaissance was ghostwritten by only six linguistic-signatures: Richard Verstegan, Josuah Sylvester, Gabriel Harvey, Benjamin Jonson, William Byrd and William Percy. The parts on each of these ghostwriters, not only explain how their biographies fit with the timelines of the texts being attributed to them, but also provide various types of evidence that explains their motives for ghostwriting. And Part IX returns for an intricate analysis of a few pseudonyms or ghostwriting-contractors who were uniquely difficult to exclude as potential ghostwriters; in parallel, these chapters question the reasons these individuals would have needed to purchase ghostwriting services. “The complete series on British Renaissance Re-Attribution and Modernization by Anna Faktorovich is a remarkable accomplishment. Based on her own unbiased method of computational-linguistic authorial-attribution, she has critically examined an entire collection of texts, many previously inaccessible and untranslated to modern English. From a variety of distinct factors that have been ignored or unnoticed in the past, she identifies a group of ghost writers behind many miss-attributed Renaissance works. Of particular interest are works traditionally attributed to William Shakespeare. Dr. Faktorovich is a prolific writer, very well informed in English literature, philology, and literary criticism, and she is clearly thorough and detail-oriented. Her re-attribution and modernization series demonstrates solid scholarship, fresh perspective, and willingness to challenge conventional thought and methodology.” —Midwest Book Review, Lesly F. Massey (December 2021) “I have long had an interest in linguistics and enjoy reading the frequent ‘Who really wrote Shakespeare’s works?’ Therefore, this book was extremely interesting to me… So, my recommendation is that if you have an interest in linguistics and scholarly research you will love this book… Very interesting and well laid out book. *****” —LibraryThing, Early Reviewers, February 2022 Anna Faktorovich, PhD, is an English professor who previously published Rebellion as Genre and Formulas of Popular Fiction. She is also the Director and Founder of Anaphora Literary Press.

Shakespeare's plays have long been open to reimagining and reinterpretation, from John Fletcher's riposte to The Taming of the Shrew in 1611 to present day spin-offs in a whole range of media, including YouTube videos and Manga comics. This book offers a clear route map through the world of adaptation, selecting examples from film, drama, prose fiction, ballet, the visual arts and poetry, and exploring their respective political and cultural interactions with Shakespeare's plays. 36 specific case studies are discussed, three for each of the 12 plays covered, offering additional guidance for readers new to this important area of Shakespeare studies. The introduction signals key adaptation issues that are subsequently explored through the chapters on individual plays, including Shakespeare's own adaptive art and its Renaissance context, production and performance as adaptation, and generic expectation and transmedial practice. Organized chronologically, the chapters cover the most commonly studied plays, allowing readers to dip in to read about specific plays or trace how technological developments have fundamentally changed ways in which Shakespeare is experienced. With examples encompassing British, North American, South and East Asian, European and Middle Eastern adaptations of Shakespeare's plays, the volume offers readers a wealth of insights drawn from different ages, territories and media.

Teaching Shakespeare in Primary Schools offers guidance and practical ideas for teaching Shakespeare’s plays across Key Stage 1 and 2. It demonstrates how the plays can engage young readers in exciting, immersive and fun literacy lessons and illustrates how the powerful themes, iconic characters and rich language remain relevant today. Part 1 explores the place of classic texts in modern classrooms – how teachers can invite children to make meaning from Shakespeare’s words – and considers key issues such as gender and race, and embraces modern technology and digital storytelling. Part 2 presents Shakespeare’s plays: The Tempest, A Midsummer Night’s Dream, Romeo and Juliet, Julius Caesar, Macbeth and The Winter’s Tale. For each play, there is a suggested sequence of activities that will guide teachers through the process of inspiring children, incubating ideas and making connections all before responding to it through drama, writing and other subjects. You don’t need to be an actor, a scholar or even an extrovert to get the best out of Shakespeare! Written by experienced teachers, this book is an essential resource for teachers of all levels of experience who want to teach creative, engaging and memorable lessons.

Shakespeare Survey is a yearbook of Shakespeare studies and production. Since 1948 Survey has published the best international scholarship in English and many of its essays have become classics of Shakespeare criticism. Each volume is devoted to a theme, or play, or group of plays; each also contains a section of reviews of that year's textual and critical studies, and of the year's major British performances. The books are illustrated with a variety of Shakespearean images and production photographs. The virtues of accessible scholarship and a keen interest in performance, from Shakespeare's time to our own, have characterised the journal from the start. Most volumes of Survey have long been out of print. Backnumbers are gradually being reissued in paperback.

To interrupt, both on stage and off, is to wrest power. From the Ghost's appearance in Hamlet to Celia's frightful speech in Volpone, interruptions are an overlooked linguistic and dramatic form that delineates the balance of power within a scene. This book analyses interruptions as a specific form in dramatic literature, arguing that these everyday occurrences, when transformed into aesthetic phenomena, reveal illuminating connections: between characters, between actor and audience, and between text and reader. Focusing on the works of William Shakespeare, Ben Jonson and John Fletcher, Michael M. Wagoner examines interruptions that occur through the use of punctuation and stage directions, as well as through larger forms, such as conventions and dramaturgy. He demonstrates how studying interruptions may indicate aspects of authorial style – emphasizing a playwright's use and control of a text – and how exploring relative power dynamics pushes readers and audiences to reconsider key plays and characters, providing new considerations of the relationships between Othello and Iago, or Macbeth and the Ghost of Banquo.

Shakespeare Survey is a yearbook of Shakespeare studies and production. Since 1948, the Survey has published the best international scholarship in English and many of its essays have become classics of Shakespeare criticism. Each volume is devoted to a theme, play, or group of plays; each also contains a section of reviews of that year's textual and critical studies and of the year's major British performances. The theme for Volume 69 is 'Shakespeare and Rome'. The complete set of Survey volumes is also available online at http://www.cambridge.org/online/shakespearesurvey. This fully searchable resource enables users to browse by author, essay and volume, search by play, theme and topic, and save and bookmark their results.

Shakespeare Survey is a yearbook of Shakespeare studies and production. Each volume is devoted to a theme, or play, or group of plays; each also contains a section of reviews of criticism and performance. For the first time, numbers 1-50 are being reissued in paperback.

The first fifty volumes of this yearbook of Shakespeare studies are being reissued in paperback.

Shakespeare Survey is a yearbook of Shakespeare studies and production. Since 1948 Survey has published the best international scholarship in English and many of its essays have become classics of Shakespeare criticism. Each volume is devoted to a theme, or play, or group of plays; each also contains a section of reviews of the previous year's textual and critical studies and of major British performances. The books are illustrated with a variety of Shakespearean images and production photographs. The current editor of Survey is Peter Holland. The first eighteen volumes were edited by Allardyce Nicoll, numbers 19-33 by Kenneth Muir and numbers 34-52 by Stanley Wells. The virtues of accessible scholarship and a keen interest in performance, from Shakespeare's time to our own, have characterised the journal from the start. For the first time, numbers 1-50 are being reissued in paperback, available separately and as a set

A single-volume cumulative index covering the past six decades of Shakespeare Survey.