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Scotland’s screen destiny
Mark Thornton Burnett

reinvigorated an ailing Scottish film industry, were secured. 2 Not surprisingly, therefore, Scottish literature and culture came to have a more prominent role in school and college curricula , and indigenously inspired reinterpretations of Scottish political history and policy quickly ensued. When, Craig concludes, the 1997 referendum cemented the reality of a Scottish parliament and local government

in Shakespeare and Scotland
John Drakakis

egotistical, and he leaves bereft after his failure to choose the correct casket. Portia’s parting couplet, ‘A gentle riddance. Draw the curtains, go. / Let all of his complexion choose me so’ (2.7.78–9), speaks volumes about what we might call the institutional racism of Belmont, just as Venice is institutionally anti-Semitic, despite its vaunted claims to welcome strangers. There is also a larger, more local metropolitan historical con-text for Morocco that I have explored in my Introduction to the play, 22 but the

in Shakespeare’s resources
Abstract only
John Drakakis

local custom, the lore and tradition of the neighbourhood, and the gossip about its inhabitants. 14 The linguistic variations that resulted from a strong but residual orality challenged the impulse to standardisation that slowly became a determining feature of print technology. Even in burgeoning urban environments, ‘early modern England was less a unified nation and more a constellation of communities, which while they may have shared some common cultural features, stubbornly clung to chauvinistic

in Shakespeare’s resources
Theatre, form, meme and reciprocity
John Drakakis

institutions. At a more general level, the Greek or Roman past could be shaped to address the preoccupations of the Elizabethan present, but to some extent it could also be used as a means to calculate elements of the future. This was especially true of something like Livy’s History of Rome , fashioned by Machiavelli into the Discourses (but unpublished in English until 1636) that aimed to tease out lessons for the Florentine present by looking into the Roman past. Holinshed provided a more local and ideologically appropriate

in Shakespeare’s resources
John Drakakis

drives the play’s impulse to revenge, an acquisitive desire that encompasses the crown and all that it sustains. In the last years of Elizabeth I’s reign, the execution of Mary, Queen of Scots (thought by some to lie behind Shakespeare’s play 96 ) was firmly in the past. Moreover, with more local and theatrical memories such as the reference in Shakespeare’s play by the actor playing Polonius that he may also have played the role of Julius Caesar in the earlier play, or the recollection in the Gravediggers’ scene of the figure of the

in Shakespeare’s resources
Robert Lepage’s Coriolan
Robert Ormsby

implicitly validated an outward-looking image of Québec while helping to ensure the viability of international Shakespeare theatre. Given these circumstances, Coriolan offers an especially significant illustration of why intercultural Shakespeare has become a crucial site for investigating the relationship among global performance, local identities and the playwright’s traditional

in Coriolanus
An archaeological biography

This book provides an abundance of fresh insights into Shakespeare's life in relation to his lost family home, New Place. It first covers the first 6,000 years of the site, from its prehistoric beginnings through its development into a plot within the economic context of early medieval Stratford-upon-Avon, and the construction of the first timber-framed building. The book then describes the construction and distinctive features of Hugh Clopton's brick-and-timber house, the first New Place. Stratford-upon-Avon gave Shakespeare a deeply rooted love of family, loyal neighbours and friends, and although he came to enjoy a prominent social standing there, he probably had little or no time at all for its puritanical side. The book provides a cultural, religious and economic context for Shakespeare's upbringing; education, work, marriage, and early investments up to his son, Hamnet's death, and his father, John Shakespeare, being made a gentleman. It discusses the importance of New Place to Shakespeare and his family during the nineteen years he owned it and spent time there. The book also takes us to just beyond the death of Shakespeare's granddaughter, Elizabeth, Lady Bernard, the last direct descendant of Shakespeare to live in the house. It further gives an account of James Halliwell's acquisition of the site, his archaeology and how New Place has become an important focus for the local community, not least during the 'Dig for Shakespeare'.

Laurie Johnson

present moment, most likely to excite the interest of his audiences and their yen for gossip or scandal. I argue here that the supernatural elements of Midsummer , rather than surrounding the drama with the unworldly or unfamiliar, provide an anchor for audiences to read locally by identifying supernatural figures on the basis of local knowledge. The semantic field within which the names of the supernatural figures circulate thus requires the audiences’ local knowledge in order to signify coherently. Conversely, the world of the Athenians is populated by anachronisms

in Shakespeare and the supernatural

This book is the first ever concordance to the rhymes of Spenser’s epic. It gives the reader unparalleled access to the formal nuts and bolts of this massive poem: the rhymes which he used to structure its intricate stanzas.

As well as the main concordance to the rhymes, the volume features a wealth of ancillary materials, which will be of value to both professional Spenserians and students, including distribution lists and an alphabetical listing of all the words in The Faerie Queene. The volume breaks new ground by including two studies by Richard Danson Brown and J. B. Lethbridge, so that the reader is given provocative analyses alongside the raw data about Spenser as a rhymer. Brown considers the reception of rhyme, theoretical models and how Spenser’s rhymes may be reading for meaning. Lethbridge in contrast discusses the formulaic and rhetorical character of the rhymes.

Ralph Knevet's Supplement of the Faery Queene (1635) is a narrative and allegorical work, which weaves together a complex collection of tales and episodes, featuring knights, ladies, sorcerers, monsters, vertiginous fortresses and deadly battles – a chivalric romp in Spenser's cod medieval style. The poem shadows recent English history, and the major military and political events of the Thirty Years War. But the Supplement is also an ambitiously intertextual poem, weaving together materials from mythic, literary, historical, scientific, theological, and many other kinds of written sources. Its encyclopaedic ambitions combine with Knevet's historical focus to produce an allegorical epic poem of considerable interest and power.

This new edition of Knevet's Supplement, the first scholarly text of the poem ever published, situates it in its literary, historical, biographical, and intellectual contexts. An extensive introduction and copious critical commentary, positioned at the back of the book, will enable students and scholars alike to access Knevet's complicated and enigmatic meanings, structures, and allusions.