Hands-On Research Symposium: from artistic practice to artistic research: book of abstracts

Hands-On Research Symposium aims to stimulate the discussion of ideas, practices, insights, outputs and developments in the field of artistic research. Originally conceptualised as a series of meetings focused on specific instrumental areas bridging the gap between artistic production and academic research, thus creating opportunities to combine artists’ and researchers’ knowledge, Hands-On Research has now expanded to encompass all artistic areas and will feature paper presentations, lecture-performances, round-table discussions and concerts.publishe

Shakespeare: editions and textual studies

In a review of this kind it can be difficult to know where to stop; after all, 'editions and textual studies' could encompass almost anything written about Shakespeare. In the past I have, at the risk of stepping on other contributors' toes, noticed items that discuss such matters as how the wording of stage directions affects performance. This year, because there are a great many (over 70) items to review, I shall discuss only work showing what an editor has done, or exhorting what an editor should do, or announcing a discovery about evidence that might shape what an editor will do

Georgette Heyer, History and Historical Fiction

The Nonesuch is the name of one of Georgette Heyer’s most famous novels. It means a person or thing without equal, and Georgette Heyer is certainly that. Her historical works inspire a fiercely loyal, international readership and are championed by literary figures such as A. S. Byatt and Stephen Fry. Georgette Heyer, History, and Historical Fiction brings together an eclectic range of chapters from scholars all over the world to explore the contexts of Heyer’s career. Divided into four parts – gender; genre; sources; and circulation and reception – the volume draws on scholarship on Heyer and her contemporaries to show how her work sits in a chain of influence, and why it remains pertinent to current conversations on books and publishing in the twenty-first century. Heyer’s impact on science fiction is accounted for, as are the milieu she was writing in, the many subsequent works that owe Heyer’s writing a debt, and new methods for analysing these enduring books. From the gothic to data science, there is something for everyone in this volume; a celebration of Heyer’s ‘nonesuch’ status amongst historical novelists, proving that she and her contemporary women writers deserve to be read (and studied) as more than just guilty pleasures

Georgette Heyer, History and Historical Fiction

The Nonesuch is the name of one of Georgette Heyer’s most famous novels. It means a person or thing without equal, and Georgette Heyer is certainly that. Her historical works inspire a fiercely loyal, international readership and are championed by literary figures such as A. S. Byatt and Stephen Fry. Georgette Heyer, History, and Historical Fiction brings together an eclectic range of chapters from scholars all over the world to explore the contexts of Heyer’s career. Divided into four parts – gender; genre; sources; and circulation and reception – the volume draws on scholarship on Heyer and her contemporaries to show how her work sits in a chain of influence, and why it remains pertinent to current conversations on books and publishing in the twenty-first century. Heyer’s impact on science fiction is accounted for, as are the milieu she was writing in, the many subsequent works that owe Heyer’s writing a debt, and new methods for analysing these enduring books. From the gothic to data science, there is something for everyone in this volume; a celebration of Heyer’s ‘nonesuch’ status amongst historical novelists, proving that she and her contemporary women writers deserve to be read (and studied) as more than just guilty pleasures

Shakespeare and the idea of apocrypha : negotiating the boundaries of the dramatic canon

Shakespeare and the Idea of Apocrypha offers the most comprehensive study to date of an intriguing but understudied body of plays. It undertakes a major reconsideration of the processes that determine the constitution of the Shakespeare canon through study of that canon’s exclusions. This thesis combines historical analysis of the emergence and development of the "Shakespeare Apocrypha" with current theorisations of dramatic collaboration. Several new theoretical and historical approaches to early modern authorship have emerged in the last decade. This thesis breaks new ground by bringing them together to demonstrate the untenability of the dichotomy between Canon and Apocrypha. Both within and without the text, the author is only one of several factors that shape the plays, and canonical boundaries are contingent rather than absolute. Chapter One draws on the New Textualism and studies of material print attributions, viewing the construction of the apocryphal canon alongside the growth of Shakespeare’s cultural prestige over three centuries. Chapter Two applies recent repertory studies to authorship questions, treating five anonymous King’s Men’s plays as part of a shared company practice that transcends authorial divisions. Chapter Three seeks dialogue between post-structuralist theory and "disintegrationist" work, revealing a shared concern with the plurality of agents within disputed plays. Within all three models of authorship, the divisions between "Shakespeare" and "not Shakespeare" are shown to be ambiguous and subjective. The associations of many disputed plays with the Shakespeare canon are factual, not fanciful. The ambiguity of canonical boundaries ultimately demonstrates the insufficiency of the "CompleteWorks" model for study of Shakespeare’s drama. Chapter Four confronts the commercial considerations that impose practical limitations on the organisation of plays. In so doing, this thesis establishes the theoretical principles by which the neglected plays of the Apocrypha can be readmitted into discourse, dispersing the fixed authority of the authorial canon.EThOS - Electronic Theses Online ServiceArts & Humanities Research Council (Great Britain) (AHRC)International Shakespeare AssociationShakespeare Association of AmericaGBUnited Kingdo

Speech Disorders. The Speaking Subject and Language in Neronian Court Literature

By combining literary criticism, philology, and contemporary psychoanalysis, this dissertation offers an innovative interpretation of Neronian court literature (Seneca, Lucan, and Petronius). I argue that the works of these three authors thematize and embody a problematic relation between the human subject and language. Language is not conceived or represented as an inert tool that can be easily appropriated by the speaking subject, but rather as a powerful entity that may, and often does, take control of the human subject, directing it from without. Besides analyzing how Seneca, Lucan, and Petronius portray the relation between the human subject and language in the internal plots and characters of their works, I also explore the relation between these three authors themselves and language. My conclusion is that this relation is defined by unresolved ambiguities and neurotic tensions, and I suggest that this might be a consequence of the traumatizing circumstances that the three examined authors endured at Nero’s court

Verbal repetition in Greek tragedy

This thesis examines the ways in which critics, ancient and modem, have looked at verbal repetitions in the texts of Greek tragedy, in particular those repetitions of lexical words which may seem careless or unintentional. It compares surviving plays (taking a sample of those of Euripides). An index of repetitiveness for each play is calculated; it emerges that while Aeschylus' plays have a wide range, there is a statistically significant difference between those of Sophocles and those of Euripides, the latter being more repetitive. The Prometheus, whose authenticity has been doubted, has a much lower index than any other tragedy examined (though that of the Alexandra of Lycophron is much lower still). A comparison of repetitiveness within a small sample of plays has failed to find systematic differences between passages of dialogue and continuous speeches, or according to the category of word. Some verbal repetitions may not have been in the original texts of tragedies, but may appear in manuscripts because of errors made by copyists. A systematic examination has been made of the manuscript tradition of selected plays to identify the instances where some manuscripts have a reading with a repetition, while others do not. The circumstances in which erroneous repetitions are introduced are identified; one conclusion reached is that copyists sometimes remove genuine repetitions. Modem psychological research has thrown light on the processes of language comprehension and production, in particular a process known as 'priming' whereby an earlier stimulus facilitates the naming of an object. The thesis discusses the relevance of this research to the observed phenomena of verbal repetitions by authors and copyists. The thesis concludes with a detailed examination of passages in three plays, and the remarks of commentators on them. Aesthetic and textual matters are discussed