Brief Notices
- Brief Notices
This volume begins with acknowledgments (vii), notes on contributors (viii–xi), and an introduction by the editors (1–24). The primary text contains essays in three parts. Part 1, “The Theology and Philosophy of Emotion,” includes: Erin Sullivan, “The Passions of Thomas Wright: Renaissance Emotion Across Body and Soul” (25–44); David Bagchi, “‘The Scripture moveth us in sundry places’: Framing Biblical Emotions in the Book of Common Prayer and the Homilies” (45–64); Sara Coodin, “‘This was a way to thrive’: Christian and Jewish Eudaimonism in The Merchant of Venice” (65–85); Mary Ann Lund, “Robert Burton, Perfect Happiness and the Viseo Dei” (86–108). Part 2, “Shakespeare and the Language of Emotion,” includes: Nigel Wood, “Spleen in Shakespeare’s Comedies” (109–29); Richard Meek, “‘Rue e’en for ruth’: Richard II and the Imitation of Sympathy” (130–52); Richard Chamberlain, “What’s Happiness in Hamlet?” (153–76). Part 3, “The Politics and Performance of Emotion,” includes: Andy Kesson, “‘They that tread in a maze’: Movement as Emotion in John Lyly” (177–99); Ann Kaegi, “(S)wept From Power: Two Versions of Tyrannicide in Richard III” (200–20); Frederika Bain, “The Affective Scripts of Early Modern Execution and Murder” (221–40); R. S. White and Ciara Rawnsley, “Discrepant Emotional Awareness in Shakespeare” (241–63). The text concludes with an afterword by Peter Holbrook (264–72) and an index (273–76).
This volume begins with a general editor’s note (ix–x), an introduction (xi–lxxii), an editor’s note (lxxiii–lxxxiv), acknowledgments (lxxxv–lxxxviii), abbreviations and works cited (lxxxix–xcviii), and illustrations (xcix–ci). The primary text is comprised of the titular correspondence (1–406). Per the dust jacket: “Bernard Shaw and William Archer is the final volume in the series on the Selected Correspondence of Bernard Shaw. Throughout their four decades of friendship [End Page 428] the two men campaigned for the ‘New Drama’ and the ‘New Theatre.’ In the early years of their activities, Archer led the campaigns with his theatre reviews and his books on contemporary British theatre. He also translated, published, and helped stage the London premieres of Henrik Ibsen’s plays. During the 1890s both Archer and Shaw used their theatre reviews to support their campaigns, and Shaw began to step forward as a playwright. As Shaw established himself as a leading modern playwright, Archer wrote dozens of reviews and articles, often arguing with Shaw over his philosophical ideas that increasingly became a defining feature of his discussion plays such as Man and Superman and Major Barbara. The two colleagues loved to debate with one another in public, and these feisty arguments regularly carried over to the letters, which bear witness to the vital partnership between a theatre critic and a playwright.” The volume concludes with a table of correspondents (407–12) and an index (413–49).
This volume begins with a list of tables and figures (vii), biographical note and notes on contributors (viii–ix), acknowledgments (x), and an introduction by the editor (1–16). The primary text includes essays in three parts. Part 1, “Disney Musicals: On Film,” includes: Elizabeth Randell Upton, “Music and the Aura of Reality in Walt Disney’s Snow White and the Seven Dwarfs (1937)” (17–30); Raymond Knapp, “Medieval ‘Beauty’ and Romantic ‘Song’ in Animated Technirama: Pageantry, Tableau and Action in Disney’s Sleeping Beauty” (31–46); Tim Stephenson, “Mary Poppins: A Precurser of Feminist Musical?” (47–64); Paul R. Laird, “Musicals in the Mirror: Enchanted, Self-reflexivity and Disney’s Sudden Boldness” (65–82). Part 2, “Disney Adaptations: On Stage and Beyond,” includes: Geoffrey Block, “Disney as Broadway Auteur: The Disney Versions of Broadway Musicals for Television in the Late...
