Digital Shakespeare

Digital publishing, from early ventures in fixed media (diskette and CD-ROM) through to editions designed for the Web, tablets, and phones, radically transforms the creation, remediation, and dissemination of Shakespearean texts. Likewise, digital technologies reshape the performance of William Shakespeare’s plays through the introduction of new modes of capture and delivery, as well as the adaptation of social media, virtual reality, video gaming, and motion capture in stage and screen productions. With the aid of the computer, Shakespearean texts, places, and spaces can be “modeled” in new and sophisticated ways, including algorithmic approaches to questions of Shakespearean authorship and chronology, the virtual 3D reconstruction of now-lost playhouses, and historical geospatial mapping of Shakespeare’s London

“Text up his name”: The Authorship of the Manuscript Play Dick of Devonshire

The manuscript play Dick of Devonshire has been attributed to several early modern dramatists, including Thomas Heywood, Robert Davenport, James Shirley, and Thomas Dekker. Identifying the author is important to obtaining a better understanding of the play's place in the Caroline commercial theater industry and how it came to be staged by Queen Henrietta Maria's Men in the summer of 1626. This article reviews the arguments that have been made for and against the various authorial candidates and, using historical and literary evidence as well as new computational analysis, establishes that Thomas Heywood is the play's most likely author

VII Shakespeare

This chapter has three sections: 1. Editions and Textual Studies; 2. Shakespeare in the Theatre; 3. Criticism. Section 1 is by Brett Greatley- Hirsch; section 2 is by Peter J. Smith; section 3(a) is by Elisabetta Tarantino; section 3(b) is by Domenico Lovascio; section 3(c) is by Shirley Bell; section 3(d) is by Christian Griffiths; section 3(e) is by Kate Wilkinson; section 3(f) is by Sheilagh Ilona O’Brien; section 3(g) is by Louise Powell