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Clio, Eurydice, Orpheus
Graham Holderness

, daughter of Zeus and Mnemosyne: begotten by power and wisdom upon memory. Crowned with a conqueror’s laurel-wreaths (her name means ‘glory’), Clio’s attributes of book and trumpet delineated her functions of record and proclamation. In one hand the book, document and archive, repository of the past’s disappearing traces; in the other the trumpet, annunciation and performance

in Shakespeare’s histories and counter-histories
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Then with Scotland first begin
Willy Maley and Andrew Murphy

See John Dover Wilson, Milestones on the Dover Road (London: Faber & Faber, 1969), pp. 140–4. 14 Macmillan archives, British Library, BL add 55017. 15 Scotland was the venue for another book about

in Shakespeare and Scotland
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Jeremy Tambling

present, consisting of archives which are always already transcriptions’ (Derrida, 1978: 211). Obviously, Derrida is going back to Letter 52 (see p. 32 above). The implications are crucial: there is no truth to be got from the unconscious. Psychoanalysis, for Derrida, is not in the business of telling you what is wrong with you, or that you have got an Oedipus complex etc. It is not a system for

in Literature and psychoanalysis
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The Spanish Tragedy IV.iv in performance
Tony Howard

records of the National Theatre, Royal Shakespeare Company and BBC versions of The Spanish Tragedy in the Sound Archive of the British Library. Bogdanov: Cottesloe Theatre, 6 December 1982; Drury: BBC Radio 3, 8 November 1994; Boyd: Barbican Pit, 5 January 1998. 4 Billen, ‘The week in reviews

in Doing Kyd
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Jeremy Tambling

anachronistic thinking. Authorship and attributions disappear; the world becomes full of titles of non-existent books (anachronism thrives in the sphere of what on dit – ‘they say’), while it is always possible to imagine a text becoming attributed to someone else. Interest in author-attribution attempts to sort out an archive which is irretrievable in being so plural. Menard’s narrator speaks of ‘deliberate

in On anachronism
Heather James

specimens without reference to – or even indirect bearing on – affairs of state. The volumes are long on boasts about their feats in the archives of early modern as well as ancient literature but short on admissions of any riskier acts of self-assertion that readers may discern within their pages. While the compilers admit to a certain daring in mixing aristocrats, gentlemen

in Formal matters
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Thomas Middleton, the book, and the genre of continuation
Jeffrey Todd Knight

, and their context’, Huntington Library Quarterly , 74.4 (2011), 575–598 and ‘Making Shakespeare’s books: assembly and intertextuality in the archives’, Shakespeare Quarterly , 60.3 (2009), 304–340. 12 For a foundational discussion of this early

in Formal matters
Michael D. Friedman and Alan Dessen

’s direction’ (Patterson, 434). Stein’s political reading of the text also called upon Marcus to participate in Titus’s slaughter of his enemies at the end of the play, but Vallone balked at this plan because he did not want to risk forfeiting ‘the sympathy of his fans’ by embodying a vicious character (Goy-Blanquet, 47). Vallone’s popularity is evident in an archival video, which records that when he entered aloft for Marcus’s first appearance, the audience burst into spontaneous applause. Vallone himself claimed that

in Titus Andronicus
Robert Ormsby

Volsce army, to the top platform, the better to display himself, as he immediately killed two enemies. He concluded the scene in the same showy manner: the gates at the middle platform several feet above the stage opened to discover Olivier battling the Volsces by himself. There is no sound recording for his lone struggle with Nicholls’s Aufidius, but the archived fight plan shows them to be well

in Coriolanus
Anderson, Barton and Nunn
Andrew James Hartley

archive in August 2010. 15 It is striking that reviewers made so little of Caesar as part of a Roman tetralogy. Despite the recent example of the Wars of the Roses, which had been well received for the continuity, foreshadowing and suggestive echoes the cycle created between roles and plays, putting the Roman plays

in Julius Caesar