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A brief history of Scottish editions
Andrew Murphy

double success with the Cambridge and Globe editions. The Globe, as Margreta de Grazia has observed, was ‘portable, affordable, and legible ... intended for worldwide circulation’. In an age of imperial expansion it provided, as she notes, ‘One Shakespeare for one world’. 32 The popular success of the Globe was matched by the critical success of the Cambridge , which

in Shakespeare and Scotland
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Richard Hillman

, beginning with the first and longest. Less excuse for prolixity may be needed in the case of Hamlet, which has, of course, occasioned many books on its own. These include a recent study by Margreta De Grazia, Hamlet without Hamlet (2006), whose objective is to free the text from the ‘Modern Hamlet’ – the daunting and inhibiting burden of significance that has accrued over the centuries to its central

in French reflections in the Shakespearean tragic
Hamlet and the rules of art
Richard Wilson

impending impact on Shakespeare’s own creative project, it is astonishing how little the Oldenburg programme figures in their accounts. In Margreta de Grazia’s 2007 monograph, setting out to correct ‘a 200-year old tradition’ of de-historicizing the play, the reigning King of Denmark is mentioned, for instance, not once. 21 Yet Hamlet’s orders to Polonius to receive the actors ‘after your own honour

in Free Will
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Revisiting the ‘cellarage scene’ in Hamlet
Pierre Kapitaniak

refined bodie?’ (5.116–21). Four very precise lexical parallels make the resemblance between the two texts more than a coincidence: like the Ghost, John is compared to a mole; like the Ghost, he is underground, and more precisely in a cellar; and like the Ghost, he cries. More recently Margreta de Grazia observed that ‘mole’ links the Ghost to the earthly body in keeping with a more physical representation of ghosts in early modern ballads, 57 while for Ricard McCoy or Sarah Outterson-Murphy, the

in Shakespeare and the supernatural
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Mark Robson

Haven: Yale University Press, 1977 ), p. 170. 19 Margreta de Grazia and Peter Stallybrass examine the heir/hair/air connection in Macbeth in their ‘The Materiality of the Text’, Shakespeare Quarterly 44 ( 1993 ), 255–83. See Parker, Shakespeare from the

in The sense of early modern writing
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The Dunsoete Agreement and daily life in the Welsh borderlands
Lindy Brady

overkingship in the seventh century’, Midland History 30 (2005): 1–19; H.  P.  R. Finberg, ‘Mercians and Welsh’, in Lucerna – Studies of Some Problems in the Early History of England (London, 1964): 66–82; and Nicholas Brooks, ‘The formation of the Mercian kingdom’, in The Origins of Anglo-Saxon Kingdoms, ed. Bassett, 159–70. 41 For overviews of postcolonial approaches to the Middle Ages, see Gabrielle M. Spiegel, ‘Épater les médiévistes’, History and Theory 39 (2000): 243–50, Margreta de Grazia, ‘The modern divide: from either side’, Journal of Medieval and Early Modern

in Writing the Welsh borderlands in Anglo-Saxon England
Jessica L. Malay

: Beacon Press, 1994), p. 3. 4 Margreta De Grazia, Maureen Quilligan, Peter Stallybrass, Subject and Object in Renaissance Culture (Cambridge: Cambridge University Press, 1996), Introduction, p. 5. 5 Hannah Arendt, The Human Condition (Chicago: University of Chicago Press, 1958), p. 137. 6 Bill Brown, ‘The matter of materialism: literary mediations’, Material Powers: Cultural Studies, History and the Material Turn, edited by Tony Bennett and Patrick Joyce (London: Routledge, 2010), p. 60. 7 The National Archives, Kew (hereafter TNA), PROB 11/11/213,Will of Elizabeth

in Bess of Hardwick
Christian and Jewish eudaimonism in The Merchant of Venice
Sara Coodin

. 10 James Perrott, Discovery of Discontented Minds (Oxford, 1596). 11 Margreta de Grazia’s ‘Hamlet’ without Hamlet (Cambridge: Cambridge University Press, 2007) is an excellent example of a work that has continued to press the

in The Renaissance of emotion
R. S. White and Ciara Rawnsley

–306. 15 R. A. Foakes, Shakespeare: The Dark Comedies and the Last Plays: from Satire to Celebration (London: Routledge, 1971), p. 103. 16 Susan Snyder, ‘The Genres of Shakespeare’s Plays’, in Margreta de Grazia and Stanley Wells (eds), The Cambridge Companion to

in The Renaissance of emotion
Joshua Davies

one or other of the Plantagenet kings (it matters little which) and its gothic design may be richly decorated but is decidedly less modern (and therefore less important) than the Monument’s Roman Doric column. To use Margreta de Grazia’s language, Freud’s mistake reveals ‘the exceptional force of that secular divide’ between medieval and modern that ‘determines nothing less than relevance’.3 It reveals Freud’s faith in this divide but also indicates the frequent difficulty of identifying the medieval. For medieval culture has been so variously reused, reappropriated

in Visions and ruins