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The eleven essays in this volume explore the complex interactions in early modern England between a technologically advanced culture of the printed book and a still powerful traditional culture of the spoken word, spectacle, and manuscript. Scholars who work on manuscript culture, the history of printing, cultural history, historical bibliography, and the institutions of early modern drama and theater have been brought together to address such topics as the social character of texts, historical changes in notions of literary authority and intellectual property, the mutual influence and tensions between the different forms of "publication," and the epistemological and social implications of various communications technologies. Although canonical literary writers such as Shakespeare, Jonson, and Rochester are discussed, the field of writing examined is a broad one, embracing political speeches, coterie manuscript poetry, popular pamphlets, parochially targeted martyrdom accounts, and news reports. Setting writers, audiences, and texts in their specific historical context, the contributors focus on a period in early modern England, from the late sixteenth through the late seventeenth century, when the shift from orality and manuscript communication to print was part of large-scale cultural change. Arthur F. Marotti's and Michael D. Bristol's introduction analyzes some of the sociocultural issues implicit in the collection and relates the essays to contemporary work in textual studies, bibliography, and publication history.
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For the last two centuries biblical interpretation has been guided by perspectives that have largely ignored the oral context in which the gospels took shape. Only recently have scholars begun to explore how ancient media inform the interpretive process and an understanding of the Bible. This collection of essays, by authors who recognize that the Jesus tradition was a story heard and performed, seeks to reevaluate the constituent elements of narrative, including characters, structure, narrator, time, and intertextuality. In dialogue with traditional literary approaches, these essays demonstrate that an appreciation of performance yields fresh insights distinguishable in many respects from results of literary or narrative readings of the gospels.
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Explores the development of nineteenth-century performance copyright laws which shape how we define and value drama and music.
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