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English literature --- Drama --- anno 1600-1699 --- anno 1500-1599 --- English drama --- Child actors --- Gender identity in literature. --- Sex role in literature. --- Disguise in literature. --- Women in literature. --- Théâtre anglais --- Enfants acteurs --- Identité sexuelle dans la littérature --- Rôle selon le sexe dans la littérature --- Déguisement dans la littérature --- Femmes dans la littérature --- History and criticism --- History. --- Histoire et critique --- Histoire --- Shakespeare, William, --- Stage history --- Dramatic production. --- Characters --- Women. --- Théâtre anglais --- Identité sexuelle dans la littérature --- Rôle selon le sexe dans la littérature --- Déguisement dans la littérature --- Femmes dans la littérature --- Drama. --- Frauenrolle (Darstellende Kunst). --- Geschichte. --- Geschlechterbeziehung. --- Geschlechtsrolle --- Literatur. --- Theater --- Theater. --- Elisabethanisches Zeitalter --- Shakespeare, William --- Shakespeare, William. --- Bühnengeschichte. --- Gestalten. --- 1500-1700. --- England. --- Grossbritannien. --- Disguise in literature --- Gender identity in literature --- Sex role in literature --- Women in literature --- Woman (Christian theology) in literature --- Women in drama --- Women in poetry --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Performing arts --- Acting --- Actors --- Children as actors --- History --- Casting --- Šekspir, Vil'jam --- Relations with actors. --- Shakespear, William, --- Shakspeare, William, --- Šekʻspiri, Uiliam, --- Saixpēr, Gouilliam, --- Shakspere, William, --- Shikisbīr, Wilyam, --- Szekspir, Wiliam, --- Šekspyras, --- Shekspir, Vilʹi︠a︡m, --- Šekspir, Viljem, --- Tsikinya-chaka, --- Sha-shih-pi-ya, --- Shashibiya, --- Sheḳspir, Ṿilyam, --- Shaḳspir, Ṿilyam, --- Syeiksŭpʻio, --- Shekspir, V. --- Szekspir, William, --- Shakespeare, Guglielmo, --- Shake-speare, William, --- Sha-ō, --- Şekspir, --- Shekspir, Uiliam, --- Shekspir, U. --- Šekspir, Vilijam, --- Ṣēkspiyar, Viliyam, --- Shakspir, --- Shekspyr, Vyli︠e︡m, --- Şekspir, Velyam, --- Ṣēkspiyar, Villiyam, --- Shēkʻspʻiyr, Vlilliam, --- Ṣēkspiyar, --- Ṣēkspiyar Mahākavi, --- Ṣēkspiyar Mahākaviya, --- Sheḳspier, Ṿilyam, --- Shēkʻspir, --- Shakespeare, --- Śeksper, --- Шекспир, Вильям, --- Шекспир, Уильям, --- שייקספיר, וויליאם, --- שייקספיר, וו., --- שיקספיר, וויליאם --- שיקספיר, ויליאם --- שיקספיר, ויליאם, --- שכספיר, ויליאם, --- שכספיר, וילים, --- שכספיר, ו׳ --- שעפקספיר, וויליאם, --- שעקספיער, וויליאם --- שעקספיער, וויליאם, --- שעקספיער, ווילליאם --- שעקספיער, וו., --- שעקספיר --- שעקספיר, וו --- שעקספיר, וויליאם, --- שעקספיר, וויליאמ --- שעקספיר, ווילליאם --- שעקספיר, ווילליאם, --- שעקספיר, וו., --- שעקספיר, װיליאם, --- שעקספיר, װילליאם, --- שעקספיר, װ., --- שעקספער --- שעקספער, וויליאמ --- שקספיר --- שקספיר, וו --- שקספיר, וויליאם --- שקספיר, וויליאם, --- שקספיר, ווילים, --- שקספיר, וילאם --- שקספיר, ויליאם --- שקספיר, ויליאם, --- שקספיר, ויליים, --- שקספיר, וילים --- שקספיר, וילים, --- شاكسبير، وليم --- شاكسپير، وليم --- شكسبير، وليام --- شكسبير، وليم --- شكسبير، وليم، --- شكسبير، و. --- شكسپير، وليم --- شكسپير، ويليام --- شيكسبير، وليام --- شيكسبير، وليام.، --- شيكسبير، وليم --- شکسبير، وليم --- وليم شکسبير --- 沙士北亞威廉姆, --- 沙士比亞威廉姆, --- 莎士比亞威廉姆, --- 莎士比亞威廉, --- 莎士比亞,

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A study of the archaeology and sociology of the use of margins and other blank spaces. Marginalia constitute a significant dimension of the book's history, and what readers did to books often added to their value. This study deals with books in which the text and marginalia are in intense communication with each other, in which reading constitutes an active and sometimes adversarial engagement with the book. The underlying questions is at what point marginalia, the legible incorporation of the work of reading into the text of the book, became a way of defacing it rather than of increasing its value--why did we want books to lose their history?

Books --- Marginalia --- 028 --- 094 <014.4> --- 82.085.43 --- Books and reading --- Marginal notes --- Notes, Marginal --- 82.085.43 Literaire receptie --- Literaire receptie --- 094 <014.4> Oude en merkwaardige drukken. Kostbare en zeldzame boeken. Preciosa en rariora--Herkomst, bezitsaanduidingen, 'provenance' --- Oude en merkwaardige drukken. Kostbare en zeldzame boeken. Preciosa en rariora--Herkomst, bezitsaanduidingen, 'provenance' --- 028 Lezen. Lectuur --- Lezen. Lectuur --- History. --- Book history --- margins --- reading culture --- History

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As England entered the Renaissance and as humanism, with its focus on classical literature and philosophy, informed the educational system, English intellectuals engaged in a concerted effort to remake the culture, language, manners--indeed, the whole national style--through adapting the classics. But how could English literature, art, and culture, become "classical," not only in imitating the ancients, but in the sense subsequently applied to music: "classical" as opposed to popular, as formal, serious, and therefore as good? For several decades in the sixteenth and early seventeenth centuries, Stephen Orgel writes, the return to the classics held out the promise of refinement and civility. Poetry was to be modeled on Greek and Roman examples rather than on the great English medieval works, which though admirable, lacked "correctness." More than poetry was at stake, however, and the transition would not be easy. Classical rules seemed the wave of the future, rescuing England from what was seen as the crudeness and the sheer popularity of its native traditions, but advocacy was tempered with a good deal of ambivalence: classical manners and morals were often at variance with Christian principles, and the classicism of the age would need to be deeply revisionist. "Christian humanism" was never untroubled, Orgel writes, always an unstable or even paradoxical amalgam. In Wit's Treasury, one of our foremost interpreters of Renaissance literature and culture charts how this ambivalence yielded the rich creative tension out of which emerged an unprecedented flowering of drama, lyric, and the arts. Orgel has here written a book that will appeal to anyone interested in English Renaissance art and literature, and particularly in the cultural ferment that produced Shakespeare, Marlowe, Spenser, Jonson, and Milton.

Comparative literature --- English literature --- anno 1500-1799

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In his own time, Shakespeare was not a monument, but a man of the theater whose plays were less finished artifacts than works in process. In contrast to a book, a thing we have come to think of as final and achieved, a play is a work for performance, with each performance based only in part on a text we call a script. That script may well have had imperfections that the actors may or may not have noticed as they turned it into a performance. There were multiple versions of the scripts and never a "final" one. Every revival of a play—indeed, every subsequent performance—was and always will be different. Nevertheless, when we study Shakespeare, we are likely to come to him via printed texts that are scripts masquerading as books, and the impulse is to turn them into finished artifacts worthy of their author's dignity.In The Invention of Shakespeare, and Other Essays Stephen Orgel brings together twelve essays that consider the complex nature of Shakespearean texts, which often include errors or confusions, and the editorial and interpretive strategies for dealing with them in commentary or performance. "There is always some underlying claim that we are getting back to 'what Shakespeare actually wrote,'" Orgel writes, "but obviously that is not true: we clarify, we modernize, we undo muddles, we correct or explain (or explain away) errors, all in the interests of getting a clear, readable, unproblematic text. In short, we produce the text that we want him to, or think he must have written. But one thing we really do know about Shakespeare's original text is that it was hard to read."

Shakespeare, William --- Shakespeare, William,

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