By B. Reynolds
This learn expands on Reynolds' 'transversal poetics' - the idea, technique, and aesthetics constructed based on the necessity for an strategy that fosters corporation, creativity and conscientious scholarship and pedagogy. It bargains new readings of performs through, among others, Shakespeare, Marlowe, Middleton, Webster and Greene.
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Extra info for Transversal Enterprises in the Drama of Shakespeare and his Contemporaries: Fugitive Explorations
Example text
Richard David. London: Methuen, 1968. —— The Tempest. Ed. Frank Kermode. London: Methuen 1954. zooz, “Transversal Poetics: I. E. 35 (2003). 2 The Reckoning of Moll Cutpurse: Transversal Reimaginings of The Roaring Girl Bryan Reynolds & Janna Segal Critical contexts with a différance Thomas Middleton and Thomas Dekker’s The Roaring Girl has been among the most discussed of the non-Shakespearean early modern English plays since the mid 1980s. The reason for this may seem fairly obvious to those familiar with trends in both literary-cultural criticism and popular culture since 1980.
The title to Marjorie Garber’s Vested Interests: CrossDressing & Cultural Anxiety (1992), a book that characterizes the first decade of the first wave of “gender studies,” what we call the “engendered years,” brilliantly captures the tenor of the times. Garber’s Vested Interests was published by Routledge, a trade press that had quickly become the leader in the publication of books in the newfangled fields of cultural and gender studies. While Garber’s book reflected the concerns of the era of its inception, the book that was to most influence the second decade of gender studies was Judith Butler’s Gender Trouble: Feminism and the Subversion of Identity (1990), also published by Routledge (from the press’ new series, “Thinking Gender”).
See Raymond Williams, Marxism and Literature (Oxford: Oxford University Press, 1977). : Iago’s Motives and the Means by which Othello Falls,” in Reynolds, Performing Transversally, 55–84. ” A Treatise of Equivocation instructed that the priest could speak the word “No” in response. The priest could then continue, speaking in his own mind but not out loud, “so as I am bound to utter it to you, since you have no lawful jurisdiction over me. (1) For a discussion of the relationship between witches and Catholics according to early modern England’s official culture, see Jonathan Gil Harris, Foreign Bodies and the Body Politics: Discourses of Social Pathology in Early Modern England (Cambridge: Cambridge University Press, 1998), 118–27.