{"product_id":"english-renaissance-drama-isbn-9780631226307","title":"English Renaissance Drama","description":"The book considers the London theatrical culture which took shape in the 1570s and came to an end in 1642.\u003cbr\u003e \u003cul\u003e \u003cli style=\"list-style: none\"\u003e\n\u003cbr\u003e \u003c\/li\u003e \u003cli\u003ePlaces emphasis on those plays that are readily available in modern editions and can sometimes to be seen in modern productions, including Shakespeare.\u003cbr\u003e \u003c\/li\u003e \u003cli\u003eProvides students with the historical, literary and theatrical contexts they need to make sense of Renaissance drama.\u003cbr\u003e \u003c\/li\u003e \u003cli\u003eIncludes a series of short biographies of playwrights during this period.\u003cbr\u003e \u003c\/li\u003e \u003cli\u003eFeatures close analyses of more than 20 plays, each of which draws attention to what makes a particular play interesting and identifies relevant critical questions.\u003cbr\u003e \u003c\/li\u003e \u003cli\u003eExamines early modern drama in terms of its characteristic actions, such as cuckolding, flattering, swaggering, going mad, and rising from the dead.\u003c\/li\u003e \u003c\/ul\u003e  Introduction. \u003cp\u003eTimeline.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eThe Set-Up.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe Moment.\u003c\/p\u003e \u003cp\u003eIrreligious Drama.\u003c\/p\u003e \u003cp\u003eCourtiers and Capitalists.\u003c\/p\u003e \u003cp\u003eActors and Writers.\u003c\/p\u003e \u003cp\u003eThe Stage.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eBackground Voices.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eAllegory.\u003c\/p\u003e \u003cp\u003eCeremony.\u003c\/p\u003e \u003cp\u003eDrama.\u003c\/p\u003e \u003cp\u003eFestivity.\u003c\/p\u003e \u003cp\u003eHistory.\u003c\/p\u003e \u003cp\u003eLove.\u003c\/p\u003e \u003cp\u003eMedicine.\u003c\/p\u003e \u003cp\u003eRhetoric.\u003c\/p\u003e \u003cp\u003eRomance.\u003c\/p\u003e \u003cp\u003eSatire.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eThe Writers.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eFrancis Beaumont (1584\/5–1616).\u003c\/p\u003e \u003cp\u003eRichard Brome (c. 1590–1652).\u003c\/p\u003e \u003cp\u003eGeorge Chapman (1559–1634).\u003c\/p\u003e \u003cp\u003eThomas Dekker (c. 1572–1632).\u003c\/p\u003e \u003cp\u003eJohn Fletcher (1579–1625).\u003c\/p\u003e \u003cp\u003eJohn Ford (1586–?1650).\u003c\/p\u003e \u003cp\u003eRobert Greene (1558–1592).\u003c\/p\u003e \u003cp\u003eThomas Heywood (c. 1573–1641).\u003c\/p\u003e \u003cp\u003eBen Jonson (1572–1637).\u003c\/p\u003e \u003cp\u003eThomas Kyd (1558–1594).\u003c\/p\u003e \u003cp\u003eChristopher Marlowe (1564–1593).\u003c\/p\u003e \u003cp\u003eJohn Marston (1576–1634).\u003c\/p\u003e \u003cp\u003ePhilip Massinger (1583–1640).\u003c\/p\u003e \u003cp\u003eThomas Middleton (1580–1627).\u003c\/p\u003e \u003cp\u003eAnthony Munday (1560–1633).\u003c\/p\u003e \u003cp\u003eGeorge Peele (1556–1596).\u003c\/p\u003e \u003cp\u003eWilliam Rowley (d. 1626).\u003c\/p\u003e \u003cp\u003eWilliam Shakespeare (1564–1616).\u003c\/p\u003e \u003cp\u003eJames Shirley (1596–1666).\u003c\/p\u003e \u003cp\u003eCyril Tourneur (d. 1626).\u003c\/p\u003e \u003cp\u003eJohn Webster (c. 1579–c. 1630).\u003c\/p\u003e \u003cp\u003e\u003cb\u003eKey Plays\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eThomas Kyd, \u003ci\u003eThe Spanish Tragedy\u003c\/i\u003e.\u003c\/p\u003e \u003cp\u003eChristopher Marlowe, \u003ci\u003eTamburlaine the Great\u003c\/i\u003e.\u003c\/p\u003e \u003cp\u003eChristopher Marlowe, \u003ci\u003eDoctor Faustus\u003c\/i\u003e.\u003c\/p\u003e \u003cp\u003eWilliam Shakespeare, \u003ci\u003eRichard II\u003c\/i\u003e .\u003c\/p\u003e \u003cp\u003eBen Jonson, \u003ci\u003eEvery Man In His Humour\u003c\/i\u003e .\u003c\/p\u003e \u003cp\u003eThomas Dekker, \u003ci\u003eThe Shoemakers’ Holiday\u003c\/i\u003e .\u003c\/p\u003e \u003cp\u003eWilliam Shakespeare, \u003ci\u003eHamlet.\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eJohn Marston, \u003ci\u003eThe Dutch Courtesan\u003c\/i\u003e.\u003c\/p\u003e \u003cp\u003eWilliam Shakespeare, \u003ci\u003eKing Lear\u003c\/i\u003e.\u003c\/p\u003e \u003cp\u003e\u003ci\u003eThe Revenger’s Tragedy\u003c\/i\u003e .\u003c\/p\u003e \u003cp\u003eBen Jonson, \u003ci\u003eVolpone, or, The Fox\u003c\/i\u003e .\u003c\/p\u003e \u003cp\u003eFrancis Beaumont, \u003ci\u003eThe Knight of the Burning Pestle\u003c\/i\u003e.\u003c\/p\u003e \u003cp\u003eFrancis Beaumont and John Fletcher, \u003ci\u003eThe Maid’s Tragedy\u003c\/i\u003e.\u003c\/p\u003e \u003cp\u003eThomas Dekker and Thomas Middleton, \u003ci\u003eThe Roaring Girl\u003c\/i\u003e.\u003c\/p\u003e \u003cp\u003eWilliam Shakespeare, \u003ci\u003eThe Tempest\u003c\/i\u003e .\u003c\/p\u003e \u003cp\u003eThomas Middleton, \u003ci\u003eA Chaste Maid in Cheapside\u003c\/i\u003e.\u003c\/p\u003e \u003cp\u003eBen Jonson, \u003ci\u003eBartholomew Fair\u003c\/i\u003e.\u003c\/p\u003e \u003cp\u003eJohn Webster, \u003ci\u003eThe Duchess of Malfi\u003c\/i\u003e.\u003c\/p\u003e \u003cp\u003eThomas Middleton and William Rowley, \u003ci\u003eThe Changeling\u003c\/i\u003e.\u003c\/p\u003e \u003cp\u003ePhilip Massinger, \u003ci\u003eThe Roman Actor\u003c\/i\u003e .\u003c\/p\u003e \u003cp\u003eThomas Heywood, \u003ci\u003eThe Fair Maid of the West\u003c\/i\u003e.\u003c\/p\u003e \u003cp\u003eJohn Ford, \u003ci\u003e’Tis Pity She’s a Whore\u003c\/i\u003e.\u003c\/p\u003e \u003cp\u003eRichard Brome, \u003ci\u003eA Jovial Crew\u003c\/i\u003e.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eActions That A Man Might Play\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eAttending.\u003c\/p\u003e \u003cp\u003eBeing a Woman.\u003c\/p\u003e \u003cp\u003eConjuring.\u003c\/p\u003e \u003cp\u003eCuckolding.\u003c\/p\u003e \u003cp\u003eDressing Up.\u003c\/p\u003e \u003cp\u003eFeigning.\u003c\/p\u003e \u003cp\u003eFlattering.\u003c\/p\u003e \u003cp\u003eGoing Mad.\u003c\/p\u003e \u003cp\u003eInheriting.\u003c\/p\u003e \u003cp\u003ePlotting.\u003c\/p\u003e \u003cp\u003eRising from the Dead.\u003c\/p\u003e \u003cp\u003eSeducing.\u003c\/p\u003e \u003cp\u003eSwaggering.\u003c\/p\u003e \u003cp\u003eBibliography.\u003c\/p\u003e \u003cp\u003eIndex\u003c\/p\u003e  “A book surveying the field by introducing as many as twenty-one dramatists and generally considering the London theatrical culture between the 1570s and 1642. Among the key texts commented on are two of Shakespeare’s tragedies, namely Hamlet … and King Lear … .The book is of good use to readers needing a guide to the historical, literary and theatrical contexts in which English Renaissance drama took shape.” (\u003ci\u003eYear's Work in English Studies\u003c\/i\u003e, 2008)  \u003cp\u003e“The ideal companion for both students and teachers of Tudor and Stuart plays. I … was able to use it and recommend it to my students … .They loved it almost as much as I did. The book features … excellent, thought-provoking readings of the major plays … and a wonderfully quirky, fascinating, and useful section on recurring tropes and patterns … .The major writers are represented, and the book will work nicely with the Norton and the Blackwell anthologies … .I recommend this book with the highest praise.” (\u003ci\u003eStudies in English Literature 1500-1900\u003c\/i\u003e, Spring 2008)\u003c\/p\u003e \u003cp\u003e\"...Womack offers insightful critical comments on English Renaissance playwrights, some major plays, and a variety of contextual topics...Womack is an astute critic.\" \u003ci\u003e(CHOICE)\u003c\/i\u003e\u003cbr\u003e \u003c\/p\u003e \u003cp\u003e\"Remarkably comprehensive … a very fine introduction for the non-specialist.\" \u003ci\u003e(Touchstone)\u003c\/i\u003e\u003c\/p\u003e \u003cb\u003ePeter Womack\u003c\/b\u003e is Senior Lecturer in English at the University of East Anglia. He is the co-author of \u003ci\u003eEnglish Drama: A Cultural History\u003c\/i\u003e (Blackwell Publishing, 1996), and the author of \u003ci\u003eImprovement and Romance: Constructing the Myth of the Highlands\u003c\/i\u003e (1989) and \u003ci\u003eBen Jonson\u003c\/i\u003e (Blackwell Publishing, 1986).  This guide provides students with the historical, literary and theatrical contexts they need to make sense of English Renaissance drama. The book considers the London theatrical culture which took shape in the 1570s and came to an end in 1642, emphasising plays that can be read in modern editions and seen in modern productions. Shakespeare’s plays appear as a vital but not dominating component of this repertoire.\u003cbr\u003e \u003cp\u003eThe opening section reviews the historical conditions in which Renaissance plays were written and performed, tracing the opposing influences of patronage and the market, the Court and the City. The next section surveys the various languages out of which plays were made, showing how discourses such as history, satire or love were taken up and dramatized. Then a series of short biographies describes the lives of the best-known playwrights of the period. A fourth section provides analyses of over twenty specific scripts, showing what makes them interesting and what critical questions they provoke. Finally, the author links ideological concerns with dramatic practice by considering things that are typically enacted on the early modern stage, such as cuckolding, flattering, swaggering, going mad, and rising from the dead.\u003cbr\u003e \u003cbr\u003e \u003c\/p\u003e","brand":"Wiley-Blackwell","offers":[{"title":"Default Title","offer_id":47989139472613,"sku":"NP9780631226307","price":48.5,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9780631226307.jpg?v=1761782957","url":"https:\/\/k12savings.com\/products\/english-renaissance-drama-isbn-9780631226307","provider":"K12savings","version":"1.0","type":"link"}