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–60). 46 Patrick Cheney, Shakespeare’s Literary Authorship (Cambridge: Cambridge University Press, 2008), pp. 244, 238. 47 See introduction and notes in Robert Garnier, Marc Antoine, Hippolyte , ed. Raymond Lebègue (Paris: Les Belles Lettres, 1974
precious Garvey Formula XT-70 Violet industrial ink can be purchased, and where neophyte taggers like Dylan can catch a glimpse of some real writers. And the fact that the cover of the 2005 Faber edition is adorned with tags which surround the name of the novel and its author suggests that there is a complex relationship between literary authorship and the more subterranean power of the name in graffiti
the plays discussed here on interactions between an individual patron and individual visual artist. When playwrights such as Shakespeare, Lyly and Greene make metatheatrical reference to the unending process of image-making, then, they contribute to the emergence of a discourse that will eventually produce post-eighteenth-century concepts of ‘fine art’ and literary authorship. In other words
the New Cambridge Shakespeare (1998)’. The passage is discussed in P. Cheney’s Shakespeare’s Literary Authorship (Cambridge: Cambridge University Press, 2012), p. 99. 41 Sir P. Sidney, Astrophil and Stella , sonnet 1, 14, The Major Works , ed. K. Duncan-Jones (Oxford: Oxford University Press
. 46 Sujata Iyengar, ‘Shakespeare in Heterolove’, Literature/Film Quarterly , 29: 2 (2001), pp. 122–7. 47 Iyengar, ‘Shakespeare in Heterolove’, p. 124. 48 Richard Burt, ‘ Shakespeare in Love and the End of the Shakespearean: Academic and Mass Culture Constructions of Literary Authorship’, in Mark Thornton Burnett and Ramona Wray (eds), Shakespeare, Film, Fin de Siècle (Basingstoke: Palgrave Macmillan, 2000), pp. 203–31. 49 Elizabeth Klett, ‘ Shakespeare in Love and the End(s) of
’ (Hering, 2016 : 33). What ‘Good Old Neon’ makes collaterally clear is that David Foster Wallace de facto stages two authorial characters – the first through his afterlife positioning, the second through his name. Whether we approach it via Cavell, as Matt Prout does in Chapter 10 below, or via Borges's essay on Zeno as Hudson proposes, the central theme of other minds is given a further turn of the screw once we add the issue of literary authorship to the mix. The latter veers the story toward a reflection on the different tools philosophy and
writer of plays who assiduously avoids print and bookish immortality, but rather the author of both plays and poems whose works as a whole show a fascination with – sometimes also a fear and distrust of – print publication’ (PoetPlaywright, p. 209). See also Cheney, Shakespeare’s Literary Authorship (Cambridge: Cambridge University Press, 2008). Lukas Erne, Shakespeare as Literary Dramatist (Cambridge: Cambridge University Press, 2003), p. 25. Jonas Barish notes that, among Shakespeare’s dramatic works, only The Two Noble Kinsmen does not allude to a single ‘stage
Shakespeare ; for more details, see J. Buchanan, Shakespeare on Silent Film: An Excellent Dumb Discourse (Cambridge: Cambridge University Press, 2009), esp. pp. 105–6; and J. Buchanan, ‘Introduction: Image, Story, Desire: The Writer on Film’, in J. Buchanan (ed.), The Writer on Film: Screening Literary Authorship (Basingstoke and New York: Palgrave Macmillan, 2013), pp. 3–32, esp. pp. 7–8. 2 Lanier, ‘Film Spin-Offs and Citations’ , p. 337. 3 Ibid . 4 Ibid ., pp. 269–70. 5 M. Murray-Pepper, ‘The “Tables of Memory”: Shakespeare, Cinema and the Writing
and originary, the products of historical research, they are also modern, progressive specimens of the new, international style in classical scholarship and literary authorship. 28 The point is well made: by adopting a medievalising diction, Spenser is at once looking back to Chaucer, Gower, and metrical romance whilst at the same forging a new kind of written style unlike that of his predecessors. Similarly, Zurcher's discussion of E. K.'s Epistle to Harvey – the document which most fully articulates Spenser's theory of
the value of imaginative literary authorship was contested ( 1993 , 235–6). By allowing identification of Hobbinol as Gabriel Harvey in the Calender ’s commentary, which thus indicated Immerito’s personal circumstances (39b), Spenser ensured that his authorial persona was always somewhat unmasked within the book itself. It was devised to launch “our new Poete” who “shall be hable to keepe wing with