- Brief Notices
This volume begins with contributors (vii-viii), a list of abbreviations (ix-x), a list of illustrations (xi-xii), preface and acknowledgments (xiii-xiv), and an introduction by the editor (1-12). The primary text includes the following essays: Mairi Macdonald, "The Guild of the Holy Cross and its Buildings" (13-30); Sylvia Gill, "Reformation: Priests and People" (31-58); Sylvia Gill, "'Where one is a scholemaster of grammar': The Guild School and Teaching in Stratford-upon Avon c. 1420-1558" (59-72); Ian Green, "'More polite learning': Humanism and the New Grammar School" (73-96); Robert Bearman, "The Guildhall, Stratford-upon-Avon: The Focus of Civic Governance in the Sixteenth Century" (97-114); M. A. Webster, "The Stratford Court of Record 1553-1601" (115-34); Kate Giles and Jonathan Clark, "The Archaeology of the Guild Buildings of Shakespeare's Stratford-upon-Avon" (135-70); J. R. Mulryne, "Professional Theatre in the Guildhall 1568-1620: Players, Puritanism, and Performance" (171-206); Oliver Jones, "The Queen's Men in Stratford and The Troublesome Reign of John, King of England" (207-24); Margaret Shewring, "Repertoire of the Professional Players in Stratford-upon-Avon" (225-62). The volume concludes with an index (263-70).
This volume begins with a list of illustrations (ix-x), notes on contributors (xi-xiii), acknowledgments (xv), and an introduction by Yu Jin Ko (1-18). The primary text includes essays in three parts. Part 1, "Shakespearean Persons," includes: Michael Bristol, "How Dark Was It in That Room? Performing a Scene Shakespeare Never Wrote" (19-34); Bruce W. Young, "Shakespearean Characters and Early Modern Subjectivity: The Case of King Lear" (35-52); William Flesch, [End Page 275] "What Makes Someone a Character in Shakespeare?" (53-64); James E. Berg, "Wopsle's Revenge, or, Reading Hamlet as Character in Great Expectations" (65-84). Part 2, "Character in Action," includes: Cary M. Mazer, "Historicizing Spontaneity: The Illusion of the First Time of 'The Illusion of the First Time'" (85-98); Tiffany Stern, "(Re:)Historicizing Spontaneity: Original Practices, Stanislavski, and Characterization" (99-110); Diego Arciniegas, "Retracting Antonio: In Search of the Merchant of Venice" (111-26); Brett Gamboa, "Letting Unpleasantness Lie: Counter-Intuition and Character in The Merchant of Venice" (127-40); Dan Donohue, "Iago: In Following Him I Follow But Myself" (141-50); Michael W. Shurgot, "'I lay with Cassio lately': Iago's Fantasy, the Actor and Audience Response to Othello in 3.3" (151-70). Part 3, "Beyond Naturalism: Then and Now," includes: Eunice Roberts, "Just Do It: Theory and Practice in Acting" (171-88); Lina Perkins Wilder, "Playing Sodomites: Gender and Protean Character in As You Like It" (189-208); Travis Curtright, "'Stops' in the Name of Love: Playing Typological Iago" (209-22); James Wells, "Henry V's Character Conflict" (223-40). The text concludes with a bibliography (241-56) and an index (257-64).
The volume begins with a list of illustrations (vii-viii), notes on contributors (ix-xii), acknowledgments (xiii), a note on the text (xiv), and an introduction by Helen Cooper (1-16). The primary text contains essays in four parts. Part 1, "The Middle Ages and Shakespeare," includes: Bruce R. Smith, "Shakespeare's Middle Ages" (19-36); Bart van Es, "Late Shakespeare and the Middle Ages" (37-52). Part 2, "Books and Language," includes: A. E. B. Coldiron, "The Mediated 'Medieval' and Shakespeare" (55-77); Jonathan Hope, "'Not know my voice?': Shakespeare Corrected; English Perfected—Theories of Language From the Middle Ages to Modernity" (78-97); Helen Cooper, "The Afterlife of Personification" (98-116). Part 3, "The British Past," includes: Ruth Morse, "Shakespeare and the Remains of Britain" (119-37); Margreta de Grazia, "King Lear in BC Albion" (138-56). Part 4, "The Theatrical Dimension," includes...