Currently viewing the tag: "book history"
Three weeks ago I had what seemed like a fun idea at the time: I’d live-tweet a steady stream of my responses to Brian Vickers’s — sorry: Sir Brian Vickers’s — new work of counter-revisionist literary/textual/theatre history, The One King Lear (Harvard UP, 2016). It turned into a bit of […]
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I just remembered this essay, which I wrote a few years ago but never managed to get in sufficient shape for publication. It still isn’t quite right, and I’ve mostly moved on to other questions, but now that I’ve looked at it again, and am newly aware of its existence, I thought I might as […]
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This post is a long excerpt from an essay of mine published a few months ago, “‘But, what euer you do, Buy’: Richard II as Popular Commodity” (in Jeremy Lopez, ed., Richard II: New Critical Essays, London and New York: Routledge, 2012, 223-44). You’ll find the concluding sections and full citations in the […]
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[This is a very lightly edited version of a paper I gave last weekend at the Renaissance Society of America conference in Washington, DC. Many thanks to Adam Hooks and András Kiséry for organizing the panel and for their excellent papers!]
Thomas Dekker should be central to discussions of early modern theatre, but he isn’t. […]
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After various disruptions and diversions, here’s the fifth and final part of my series on manuscript annotations in playbooks in the Folger Shakespeare Library.
I thought it would be fitting to finish up with a couple of Shakespearean references. The discovery of a new mention of Shakespeare is, after all, one of the great archival […]
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Resuming my regularly scheduled program: some more playbook marginalia.
This instalment features the kind of readerly annotations that I find most interesting. In previous posts, I looked at marks that appear to be theatrical in origin, or at least treat the text as a script for performance; I also discussed some instances of […]
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Some readers, as I had mentioned in the previous post in this series, approached plays in thoroughly un-theatrical ways. In a sense, many of the marks and annotations I described in Part I also speak to a non-dramatic reception: underlinings, marginal crosses, asterisks, and other pointers, and even lines copied out in the […]
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As promised in Part I of this series, here are a few examples of printed plays that have been annotated in a way that suggests the reader had performance of one kind or another in mind. (As before, all images courtesy of the Folger Shakespeare Library, Washington, DC.)
First off, a curio. In this […]
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Copyright
Holger Syme's work is licensed under a Creative Commons Attribution-NonCommercial 3.0 Unported License.Images may be reused as long as their source is properly attributed in accordance with the Creative Commons License detailed above. Many of the photos here were taken at the Folger Shakespeare Library; please consult their policy on digital images as well.
