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Contributors
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- By Mitchell Aboulafia, Frederick Adams, Marilyn McCord Adams, Robert M. Adams, Laird Addis, James W. Allard, David Allison, William P. Alston, Karl Ameriks, C. Anthony Anderson, David Leech Anderson, Lanier Anderson, Roger Ariew, David Armstrong, Denis G. Arnold, E. J. Ashworth, Margaret Atherton, Robin Attfield, Bruce Aune, Edward Wilson Averill, Jody Azzouni, Kent Bach, Andrew Bailey, Lynne Rudder Baker, Thomas R. Baldwin, Jon Barwise, George Bealer, William Bechtel, Lawrence C. Becker, Mark A. Bedau, Ernst Behler, José A. Benardete, Ermanno Bencivenga, Jan Berg, Michael Bergmann, Robert L. Bernasconi, Sven Bernecker, Bernard Berofsky, Rod Bertolet, Charles J. Beyer, Christian Beyer, Joseph Bien, Joseph Bien, Peg Birmingham, Ivan Boh, James Bohman, Daniel Bonevac, Laurence BonJour, William J. Bouwsma, Raymond D. Bradley, Myles Brand, Richard B. Brandt, Michael E. Bratman, Stephen E. Braude, Daniel Breazeale, Angela Breitenbach, Jason Bridges, David O. Brink, Gordon G. Brittan, Justin Broackes, Dan W. Brock, Aaron Bronfman, Jeffrey E. Brower, Bartosz Brozek, Anthony Brueckner, Jeffrey Bub, Lara Buchak, Otavio Bueno, Ann E. Bumpus, Robert W. Burch, John Burgess, Arthur W. Burks, Panayot Butchvarov, Robert E. Butts, Marina Bykova, Patrick Byrne, David Carr, Noël Carroll, Edward S. Casey, Victor Caston, Victor Caston, Albert Casullo, Robert L. Causey, Alan K. L. Chan, Ruth Chang, Deen K. Chatterjee, Andrew Chignell, Roderick M. Chisholm, Kelly J. Clark, E. J. Coffman, Robin Collins, Brian P. Copenhaver, John Corcoran, John Cottingham, Roger Crisp, Frederick J. Crosson, Antonio S. Cua, Phillip D. Cummins, Martin Curd, Adam Cureton, Andrew Cutrofello, Stephen Darwall, Paul Sheldon Davies, Wayne A. Davis, Timothy Joseph Day, Claudio de Almeida, Mario De Caro, Mario De Caro, John Deigh, C. F. Delaney, Daniel C. Dennett, Michael R. DePaul, Michael Detlefsen, Daniel Trent Devereux, Philip E. Devine, John M. Dillon, Martin C. Dillon, Robert DiSalle, Mary Domski, Alan Donagan, Paul Draper, Fred Dretske, Mircea Dumitru, Wilhelm Dupré, Gerald Dworkin, John Earman, Ellery Eells, Catherine Z. Elgin, Berent Enç, Ronald P. Endicott, Edward Erwin, John Etchemendy, C. Stephen Evans, Susan L. Feagin, Solomon Feferman, Richard Feldman, Arthur Fine, Maurice A. Finocchiaro, William FitzPatrick, Richard E. Flathman, Gvozden Flego, Richard Foley, Graeme Forbes, Rainer Forst, Malcolm R. Forster, Daniel Fouke, Patrick Francken, Samuel Freeman, Elizabeth Fricker, Miranda Fricker, Michael Friedman, Michael Fuerstein, Richard A. Fumerton, Alan Gabbey, Pieranna Garavaso, Daniel Garber, Jorge L. A. Garcia, Robert K. Garcia, Don Garrett, Philip Gasper, Gerald Gaus, Berys Gaut, Bernard Gert, Roger F. Gibson, Cody Gilmore, Carl Ginet, Alan H. Goldman, Alvin I. Goldman, Alfonso Gömez-Lobo, Lenn E. Goodman, Robert M. Gordon, Stefan Gosepath, Jorge J. E. Gracia, Daniel W. Graham, George A. Graham, Peter J. Graham, Richard E. Grandy, I. Grattan-Guinness, John Greco, Philip T. Grier, Nicholas Griffin, Nicholas Griffin, David A. Griffiths, Paul J. Griffiths, Stephen R. Grimm, Charles L. Griswold, Charles B. Guignon, Pete A. Y. Gunter, Dimitri Gutas, Gary Gutting, Paul Guyer, Kwame Gyekye, Oscar A. Haac, Raul Hakli, Raul Hakli, Michael Hallett, Edward C. Halper, Jean Hampton, R. James Hankinson, K. R. Hanley, Russell Hardin, Robert M. Harnish, William Harper, David Harrah, Kevin Hart, Ali Hasan, William Hasker, John Haugeland, Roger Hausheer, William Heald, Peter Heath, Richard Heck, John F. Heil, Vincent F. Hendricks, Stephen Hetherington, Francis Heylighen, Kathleen Marie Higgins, Risto Hilpinen, Harold T. Hodes, Joshua Hoffman, Alan Holland, Robert L. Holmes, Richard Holton, Brad W. Hooker, Terence E. Horgan, Tamara Horowitz, Paul Horwich, Vittorio Hösle, Paul Hoβfeld, Daniel Howard-Snyder, Frances Howard-Snyder, Anne Hudson, Deal W. Hudson, Carl A. Huffman, David L. Hull, Patricia Huntington, Thomas Hurka, Paul Hurley, Rosalind Hursthouse, Guillermo Hurtado, Ronald E. Hustwit, Sarah Hutton, Jonathan Jenkins Ichikawa, Harry A. Ide, David Ingram, Philip J. Ivanhoe, Alfred L. Ivry, Frank Jackson, Dale Jacquette, Joseph Jedwab, Richard Jeffrey, David Alan Johnson, Edward Johnson, Mark D. Jordan, Richard Joyce, Hwa Yol Jung, Robert Hillary Kane, Tomis Kapitan, Jacquelyn Ann K. Kegley, James A. Keller, Ralph Kennedy, Sergei Khoruzhii, Jaegwon Kim, Yersu Kim, Nathan L. King, Patricia Kitcher, Peter D. Klein, E. D. Klemke, Virginia Klenk, George L. Kline, Christian Klotz, Simo Knuuttila, Joseph J. Kockelmans, Konstantin Kolenda, Sebastian Tomasz Kołodziejczyk, Isaac Kramnick, Richard Kraut, Fred Kroon, Manfred Kuehn, Steven T. Kuhn, Henry E. Kyburg, John Lachs, Jennifer Lackey, Stephen E. Lahey, Andrea Lavazza, Thomas H. Leahey, Joo Heung Lee, Keith Lehrer, Dorothy Leland, Noah M. Lemos, Ernest LePore, Sarah-Jane Leslie, Isaac Levi, Andrew Levine, Alan E. Lewis, Daniel E. Little, Shu-hsien Liu, Shu-hsien Liu, Alan K. L. Chan, Brian Loar, Lawrence B. Lombard, John Longeway, Dominic McIver Lopes, Michael J. Loux, E. J. Lowe, Steven Luper, Eugene C. Luschei, William G. Lycan, David Lyons, David Macarthur, Danielle Macbeth, Scott MacDonald, Jacob L. Mackey, Louis H. Mackey, Penelope Mackie, Edward H. Madden, Penelope Maddy, G. B. Madison, Bernd Magnus, Pekka Mäkelä, Rudolf A. Makkreel, David Manley, William E. Mann (W.E.M.), Vladimir Marchenkov, Peter Markie, Jean-Pierre Marquis, Ausonio Marras, Mike W. Martin, A. P. Martinich, William L. McBride, David McCabe, Storrs McCall, Hugh J. McCann, Robert N. McCauley, John J. McDermott, Sarah McGrath, Ralph McInerny, Daniel J. McKaughan, Thomas McKay, Michael McKinsey, Brian P. McLaughlin, Ernan McMullin, Anthonie Meijers, Jack W. Meiland, William Jason Melanson, Alfred R. Mele, Joseph R. Mendola, Christopher Menzel, Michael J. Meyer, Christian B. Miller, David W. Miller, Peter Millican, Robert N. Minor, Phillip Mitsis, James A. Montmarquet, Michael S. Moore, Tim Moore, Benjamin Morison, Donald R. Morrison, Stephen J. Morse, Paul K. Moser, Alexander P. D. Mourelatos, Ian Mueller, James Bernard Murphy, Mark C. Murphy, Steven Nadler, Jan Narveson, Alan Nelson, Jerome Neu, Samuel Newlands, Kai Nielsen, Ilkka Niiniluoto, Carlos G. Noreña, Calvin G. Normore, David Fate Norton, Nikolaj Nottelmann, Donald Nute, David S. Oderberg, Steve Odin, Michael O’Rourke, Willard G. Oxtoby, Heinz Paetzold, George S. Pappas, Anthony J. Parel, Lydia Patton, R. P. Peerenboom, Francis Jeffry Pelletier, Adriaan T. Peperzak, Derk Pereboom, Jaroslav Peregrin, Glen Pettigrove, Philip Pettit, Edmund L. Pincoffs, Andrew Pinsent, Robert B. Pippin, Alvin Plantinga, Louis P. Pojman, Richard H. Popkin, John F. Post, Carl J. Posy, William J. Prior, Richard Purtill, Michael Quante, Philip L. Quinn, Philip L. Quinn, Elizabeth S. Radcliffe, Diana Raffman, Gerard Raulet, Stephen L. Read, Andrews Reath, Andrew Reisner, Nicholas Rescher, Henry S. Richardson, Robert C. Richardson, Thomas Ricketts, Wayne D. Riggs, Mark Roberts, Robert C. Roberts, Luke Robinson, Alexander Rosenberg, Gary Rosenkranz, Bernice Glatzer Rosenthal, Adina L. Roskies, William L. Rowe, T. M. Rudavsky, Michael Ruse, Bruce Russell, Lilly-Marlene Russow, Dan Ryder, R. M. Sainsbury, Joseph Salerno, Nathan Salmon, Wesley C. Salmon, Constantine Sandis, David H. Sanford, Marco Santambrogio, David Sapire, Ruth A. Saunders, Geoffrey Sayre-McCord, Charles Sayward, James P. Scanlan, Richard Schacht, Tamar Schapiro, Frederick F. Schmitt, Jerome B. Schneewind, Calvin O. Schrag, Alan D. Schrift, George F. Schumm, Jean-Loup Seban, David N. Sedley, Kenneth Seeskin, Krister Segerberg, Charlene Haddock Seigfried, Dennis M. Senchuk, James F. Sennett, William Lad Sessions, Stewart Shapiro, Tommie Shelby, Donald W. Sherburne, Christopher Shields, Roger A. Shiner, Sydney Shoemaker, Robert K. Shope, Kwong-loi Shun, Wilfried Sieg, A. John Simmons, Robert L. Simon, Marcus G. Singer, Georgette Sinkler, Walter Sinnott-Armstrong, Matti T. Sintonen, Lawrence Sklar, Brian Skyrms, Robert C. Sleigh, Michael Anthony Slote, Hans Sluga, Barry Smith, Michael Smith, Robin Smith, Robert Sokolowski, Robert C. Solomon, Marta Soniewicka, Philip Soper, Ernest Sosa, Nicholas Southwood, Paul Vincent Spade, T. L. S. Sprigge, Eric O. Springsted, George J. Stack, Rebecca Stangl, Jason Stanley, Florian Steinberger, Sören Stenlund, Christopher Stephens, James P. Sterba, Josef Stern, Matthias Steup, M. A. Stewart, Leopold Stubenberg, Edith Dudley Sulla, Frederick Suppe, Jere Paul Surber, David George Sussman, Sigrún Svavarsdóttir, Zeno G. Swijtink, Richard Swinburne, Charles C. Taliaferro, Robert B. Talisse, John Tasioulas, Paul Teller, Larry S. Temkin, Mark Textor, H. S. Thayer, Peter Thielke, Alan Thomas, Amie L. Thomasson, Katherine Thomson-Jones, Joshua C. Thurow, Vzalerie Tiberius, Terrence N. Tice, Paul Tidman, Mark C. Timmons, William Tolhurst, James E. Tomberlin, Rosemarie Tong, Lawrence Torcello, Kelly Trogdon, J. D. Trout, Robert E. Tully, Raimo Tuomela, John Turri, Martin M. Tweedale, Thomas Uebel, Jennifer Uleman, James Van Cleve, Harry van der Linden, Peter van Inwagen, Bryan W. Van Norden, René van Woudenberg, Donald Phillip Verene, Samantha Vice, Thomas Vinci, Donald Wayne Viney, Barbara Von Eckardt, Peter B. M. Vranas, Steven J. Wagner, William J. Wainwright, Paul E. Walker, Robert E. Wall, Craig Walton, Douglas Walton, Eric Watkins, Richard A. Watson, Michael V. Wedin, Rudolph H. Weingartner, Paul Weirich, Paul J. Weithman, Carl Wellman, Howard Wettstein, Samuel C. Wheeler, Stephen A. White, Jennifer Whiting, Edward R. Wierenga, Michael Williams, Fred Wilson, W. Kent Wilson, Kenneth P. Winkler, John F. Wippel, Jan Woleński, Allan B. Wolter, Nicholas P. Wolterstorff, Rega Wood, W. Jay Wood, Paul Woodruff, Alison Wylie, Gideon Yaffe, Takashi Yagisawa, Yutaka Yamamoto, Keith E. Yandell, Xiaomei Yang, Dean Zimmerman, Günter Zoller, Catherine Zuckert, Michael Zuckert, Jack A. Zupko (J.A.Z.)
- Edited by Robert Audi, University of Notre Dame, Indiana
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- Book:
- The Cambridge Dictionary of Philosophy
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- 05 August 2015
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- 27 April 2015, pp ix-xxx
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Contributors
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- By Rose Teteki Abbey, K. C. Abraham, David Tuesday Adamo, LeRoy H. Aden, Efrain Agosto, Victor Aguilan, Gillian T. W. Ahlgren, Charanjit Kaur AjitSingh, Dorothy B E A Akoto, Giuseppe Alberigo, Daniel E. Albrecht, Ruth Albrecht, Daniel O. Aleshire, Urs Altermatt, Anand Amaladass, Michael Amaladoss, James N. Amanze, Lesley G. Anderson, Thomas C. Anderson, Victor Anderson, Hope S. Antone, María Pilar Aquino, Paula Arai, Victorio Araya Guillén, S. Wesley Ariarajah, Ellen T. Armour, Brett Gregory Armstrong, Atsuhiro Asano, Naim Stifan Ateek, Mahmoud Ayoub, John Alembillah Azumah, Mercedes L. García Bachmann, Irena Backus, J. Wayne Baker, Mieke Bal, Lewis V. Baldwin, William Barbieri, António Barbosa da Silva, David Basinger, Bolaji Olukemi Bateye, Oswald Bayer, Daniel H. Bays, Rosalie Beck, Nancy Elizabeth Bedford, Guy-Thomas Bedouelle, Chorbishop Seely Beggiani, Wolfgang Behringer, Christopher M. Bellitto, Byard Bennett, Harold V. Bennett, Teresa Berger, Miguel A. Bernad, Henley Bernard, Alan E. Bernstein, Jon L. Berquist, Johannes Beutler, Ana María Bidegain, Matthew P. Binkewicz, Jennifer Bird, Joseph Blenkinsopp, Dmytro Bondarenko, Paulo Bonfatti, Riet en Pim Bons-Storm, Jessica A. Boon, Marcus J. Borg, Mark Bosco, Peter C. Bouteneff, François Bovon, William D. Bowman, Paul S. Boyer, David Brakke, Richard E. Brantley, Marcus Braybrooke, Ian Breward, Ênio José da Costa Brito, Jewel Spears Brooker, Johannes Brosseder, Nicholas Canfield Read Brown, Robert F. Brown, Pamela K. Brubaker, Walter Brueggemann, Bishop Colin O. Buchanan, Stanley M. Burgess, Amy Nelson Burnett, J. Patout Burns, David B. Burrell, David Buttrick, James P. Byrd, Lavinia Byrne, Gerado Caetano, Marcos Caldas, Alkiviadis Calivas, William J. Callahan, Salvatore Calomino, Euan K. Cameron, William S. Campbell, Marcelo Ayres Camurça, Daniel F. Caner, Paul E. Capetz, Carlos F. Cardoza-Orlandi, Patrick W. Carey, Barbara Carvill, Hal Cauthron, Subhadra Mitra Channa, Mark D. Chapman, James H. Charlesworth, Kenneth R. Chase, Chen Zemin, Luciano Chianeque, Philip Chia Phin Yin, Francisca H. Chimhanda, Daniel Chiquete, John T. Chirban, Soobin Choi, Robert Choquette, Mita Choudhury, Gerald Christianson, John Chryssavgis, Sejong Chun, Esther Chung-Kim, Charles M. A. Clark, Elizabeth A. Clark, Sathianathan Clarke, Fred Cloud, John B. Cobb, W. Owen Cole, John A Coleman, John J. Collins, Sylvia Collins-Mayo, Paul K. Conkin, Beth A. Conklin, Sean Connolly, Demetrios J. Constantelos, Michael A. Conway, Paula M. Cooey, Austin Cooper, Michael L. Cooper-White, Pamela Cooper-White, L. William Countryman, Sérgio Coutinho, Pamela Couture, Shannon Craigo-Snell, James L. Crenshaw, David Crowner, Humberto Horacio Cucchetti, Lawrence S. Cunningham, Elizabeth Mason Currier, Emmanuel Cutrone, Mary L. Daniel, David D. Daniels, Robert Darden, Rolf Darge, Isaiah Dau, Jeffry C. Davis, Jane Dawson, Valentin Dedji, John W. de Gruchy, Paul DeHart, Wendy J. Deichmann Edwards, Miguel A. De La Torre, George E. Demacopoulos, Thomas de Mayo, Leah DeVun, Beatriz de Vasconcellos Dias, Dennis C. Dickerson, John M. Dillon, Luis Miguel Donatello, Igor Dorfmann-Lazarev, Susanna Drake, Jonathan A. Draper, N. Dreher Martin, Otto Dreydoppel, Angelyn Dries, A. J. Droge, Francis X. D'Sa, Marilyn Dunn, Nicole Wilkinson Duran, Rifaat Ebied, Mark J. Edwards, William H. Edwards, Leonard H. Ehrlich, Nancy L. Eiesland, Martin Elbel, J. Harold Ellens, Stephen Ellingson, Marvin M. Ellison, Robert Ellsberg, Jean Bethke Elshtain, Eldon Jay Epp, Peter C. Erb, Tassilo Erhardt, Maria Erling, Noel Leo Erskine, Gillian R. Evans, Virginia Fabella, Michael A. Fahey, Edward Farley, Margaret A. Farley, Wendy Farley, Robert Fastiggi, Seena Fazel, Duncan S. Ferguson, Helwar Figueroa, Paul Corby Finney, Kyriaki Karidoyanes FitzGerald, Thomas E. FitzGerald, John R. Fitzmier, Marie Therese Flanagan, Sabina Flanagan, Claude Flipo, Ronald B. Flowers, Carole Fontaine, David Ford, Mary Ford, Stephanie A. Ford, Jim Forest, William Franke, Robert M. Franklin, Ruth Franzén, Edward H. Friedman, Samuel Frouisou, Lorelei F. Fuchs, Jojo M. Fung, Inger Furseth, Richard R. Gaillardetz, Brandon Gallaher, China Galland, Mark Galli, Ismael García, Tharscisse Gatwa, Jean-Marie Gaudeul, Luis María Gavilanes del Castillo, Pavel L. Gavrilyuk, Volney P. Gay, Metropolitan Athanasios Geevargis, Kondothra M. George, Mary Gerhart, Simon Gikandi, Maurice Gilbert, Michael J. Gillgannon, Verónica Giménez Beliveau, Terryl Givens, Beth Glazier-McDonald, Philip Gleason, Menghun Goh, Brian Golding, Bishop Hilario M. Gomez, Michelle A. Gonzalez, Donald K. Gorrell, Roy Gottfried, Tamara Grdzelidze, Joel B. Green, Niels Henrik Gregersen, Cristina Grenholm, Herbert Griffiths, Eric W. Gritsch, Erich S. Gruen, Christoffer H. Grundmann, Paul H. Gundani, Jon P. Gunnemann, Petre Guran, Vidar L. Haanes, Jeremiah M. Hackett, Getatchew Haile, Douglas John Hall, Nicholas Hammond, Daphne Hampson, Jehu J. Hanciles, Barry Hankins, Jennifer Haraguchi, Stanley S. Harakas, Anthony John Harding, Conrad L. Harkins, J. William Harmless, Marjory Harper, Amir Harrak, Joel F. Harrington, Mark W. Harris, Susan Ashbrook Harvey, Van A. Harvey, R. Chris Hassel, Jione Havea, Daniel Hawk, Diana L. Hayes, Leslie Hayes, Priscilla Hayner, S. Mark Heim, Simo Heininen, Richard P. Heitzenrater, Eila Helander, David Hempton, Scott H. Hendrix, Jan-Olav Henriksen, Gina Hens-Piazza, Carter Heyward, Nicholas J. Higham, David Hilliard, Norman A. Hjelm, Peter C. Hodgson, Arthur Holder, M. Jan Holton, Dwight N. Hopkins, Ronnie Po-chia Hsia, Po-Ho Huang, James Hudnut-Beumler, Jennifer S. Hughes, Leonard M. Hummel, Mary E. Hunt, Laennec Hurbon, Mark Hutchinson, Susan E. Hylen, Mary Beth Ingham, H. Larry Ingle, Dale T. Irvin, Jon Isaak, Paul John Isaak, Ada María Isasi-Díaz, Hans Raun Iversen, Margaret C. Jacob, Arthur James, Maria Jansdotter-Samuelsson, David Jasper, Werner G. Jeanrond, Renée Jeffery, David Lyle Jeffrey, Theodore W. Jennings, David H. Jensen, Robin Margaret Jensen, David Jobling, Dale A. Johnson, Elizabeth A. Johnson, Maxwell E. Johnson, Sarah Johnson, Mark D. Johnston, F. Stanley Jones, James William Jones, John R. Jones, Alissa Jones Nelson, Inge Jonsson, Jan Joosten, Elizabeth Judd, Mulambya Peggy Kabonde, Robert Kaggwa, Sylvester Kahakwa, Isaac Kalimi, Ogbu U. Kalu, Eunice Kamaara, Wayne C. Kannaday, Musimbi Kanyoro, Veli-Matti Kärkkäinen, Frank Kaufmann, Léon Nguapitshi Kayongo, Richard Kearney, Alice A. Keefe, Ralph Keen, Catherine Keller, Anthony J. Kelly, Karen Kennelly, Kathi Lynn Kern, Fergus Kerr, Edward Kessler, George Kilcourse, Heup Young Kim, Kim Sung-Hae, Kim Yong-Bock, Kim Yung Suk, Richard King, Thomas M. King, Robert M. Kingdon, Ross Kinsler, Hans G. Kippenberg, Cheryl A. Kirk-Duggan, Clifton Kirkpatrick, Leonid Kishkovsky, Nadieszda Kizenko, Jeffrey Klaiber, Hans-Josef Klauck, Sidney Knight, Samuel Kobia, Robert Kolb, Karla Ann Koll, Heikki Kotila, Donald Kraybill, Philip D. W. Krey, Yves Krumenacker, Jeffrey Kah-Jin Kuan, Simanga R. Kumalo, Peter Kuzmic, Simon Shui-Man Kwan, Kwok Pui-lan, André LaCocque, Stephen E. Lahey, John Tsz Pang Lai, Emiel Lamberts, Armando Lampe, Craig Lampe, Beverly J. Lanzetta, Eve LaPlante, Lizette Larson-Miller, Ariel Bybee Laughton, Leonard Lawlor, Bentley Layton, Robin A. Leaver, Karen Lebacqz, Archie Chi Chung Lee, Marilyn J. Legge, Hervé LeGrand, D. L. LeMahieu, Raymond Lemieux, Bill J. Leonard, Ellen M. Leonard, Outi Leppä, Jean Lesaulnier, Nantawan Boonprasat Lewis, Henrietta Leyser, Alexei Lidov, Bernard Lightman, Paul Chang-Ha Lim, Carter Lindberg, Mark R. Lindsay, James R. Linville, James C. Livingston, Ann Loades, David Loades, Jean-Claude Loba-Mkole, Lo Lung Kwong, Wati Longchar, Eleazar López, David W. Lotz, Andrew Louth, Robin W. Lovin, William Luis, Frank D. Macchia, Diarmaid N. J. MacCulloch, Kirk R. MacGregor, Marjory A. MacLean, Donald MacLeod, Tomas S. Maddela, Inge Mager, Laurenti Magesa, David G. Maillu, Fortunato Mallimaci, Philip Mamalakis, Kä Mana, Ukachukwu Chris Manus, Herbert Robinson Marbury, Reuel Norman Marigza, Jacqueline Mariña, Antti Marjanen, Luiz C. L. Marques, Madipoane Masenya (ngwan'a Mphahlele), Caleb J. D. Maskell, Steve Mason, Thomas Massaro, Fernando Matamoros Ponce, András Máté-Tóth, Odair Pedroso Mateus, Dinis Matsolo, Fumitaka Matsuoka, John D'Arcy May, Yelena Mazour-Matusevich, Theodore Mbazumutima, John S. McClure, Christian McConnell, Lee Martin McDonald, Gary B. McGee, Thomas McGowan, Alister E. McGrath, Richard J. McGregor, John A. McGuckin, Maud Burnett McInerney, Elsie Anne McKee, Mary B. McKinley, James F. McMillan, Ernan McMullin, Kathleen E. McVey, M. Douglas Meeks, Monica Jyotsna Melanchthon, Ilie Melniciuc-Puica, Everett Mendoza, Raymond A. Mentzer, William W. Menzies, Ina Merdjanova, Franziska Metzger, Constant J. Mews, Marvin Meyer, Carol Meyers, Vasile Mihoc, Gunner Bjerg Mikkelsen, Maria Inêz de Castro Millen, Clyde Lee Miller, Bonnie J. Miller-McLemore, Alexander Mirkovic, Paul Misner, Nozomu Miyahira, R. W. L. Moberly, Gerald Moede, Aloo Osotsi Mojola, Sunanda Mongia, Rebeca Montemayor, James Moore, Roger E. Moore, Craig E. Morrison O.Carm, Jeffry H. Morrison, Keith Morrison, Wilson J. Moses, Tefetso Henry Mothibe, Mokgethi Motlhabi, Fulata Moyo, Henry Mugabe, Jesse Ndwiga Kanyua Mugambi, Peggy Mulambya-Kabonde, Robert Bruce Mullin, Pamela Mullins Reaves, Saskia Murk Jansen, Heleen L. Murre-Van den Berg, Augustine Musopole, Isaac M. T. Mwase, Philomena Mwaura, Cecilia Nahnfeldt, Anne Nasimiyu Wasike, Carmiña Navia Velasco, Thulani Ndlazi, Alexander Negrov, James B. Nelson, David G. Newcombe, Carol Newsom, Helen J. Nicholson, George W. E. Nickelsburg, Tatyana Nikolskaya, Damayanthi M. A. Niles, Bertil Nilsson, Nyambura Njoroge, Fidelis Nkomazana, Mary Beth Norton, Christian Nottmeier, Sonene Nyawo, Anthère Nzabatsinda, Edward T. Oakes, Gerald O'Collins, Daniel O'Connell, David W. Odell-Scott, Mercy Amba Oduyoye, Kathleen O'Grady, Oyeronke Olajubu, Thomas O'Loughlin, Dennis T. Olson, J. Steven O'Malley, Cephas N. Omenyo, Muriel Orevillo-Montenegro, César Augusto Ornellas Ramos, Agbonkhianmeghe E. Orobator, Kenan B. Osborne, Carolyn Osiek, Javier Otaola Montagne, Douglas F. Ottati, Anna May Say Pa, Irina Paert, Jerry G. Pankhurst, Aristotle Papanikolaou, Samuele F. Pardini, Stefano Parenti, Peter Paris, Sung Bae Park, Cristián G. Parker, Raquel Pastor, Joseph Pathrapankal, Daniel Patte, W. Brown Patterson, Clive Pearson, Keith F. Pecklers, Nancy Cardoso Pereira, David Horace Perkins, Pheme Perkins, Edward N. Peters, Rebecca Todd Peters, Bishop Yeznik Petrossian, Raymond Pfister, Peter C. Phan, Isabel Apawo Phiri, William S. F. Pickering, Derrick G. Pitard, William Elvis Plata, Zlatko Plese, John Plummer, James Newton Poling, Ronald Popivchak, Andrew Porter, Ute Possekel, James M. Powell, Enos Das Pradhan, Devadasan Premnath, Jaime Adrían Prieto Valladares, Anne Primavesi, Randall Prior, María Alicia Puente Lutteroth, Eduardo Guzmão Quadros, Albert Rabil, Laurent William Ramambason, Apolonio M. Ranche, Vololona Randriamanantena Andriamitandrina, Lawrence R. Rast, Paul L. Redditt, Adele Reinhartz, Rolf Rendtorff, Pål Repstad, James N. Rhodes, John K. Riches, Joerg Rieger, Sharon H. Ringe, Sandra Rios, Tyler Roberts, David M. Robinson, James M. Robinson, Joanne Maguire Robinson, Richard A. H. Robinson, Roy R. Robson, Jack B. Rogers, Maria Roginska, Sidney Rooy, Rev. Garnett Roper, Maria José Fontelas Rosado-Nunes, Andrew C. Ross, Stefan Rossbach, François Rossier, John D. Roth, John K. Roth, Phillip Rothwell, Richard E. Rubenstein, Rosemary Radford Ruether, Markku Ruotsila, John E. Rybolt, Risto Saarinen, John Saillant, Juan Sanchez, Wagner Lopes Sanchez, Hugo N. Santos, Gerhard Sauter, Gloria L. Schaab, Sandra M. Schneiders, Quentin J. Schultze, Fernando F. Segovia, Turid Karlsen Seim, Carsten Selch Jensen, Alan P. F. Sell, Frank C. Senn, Kent Davis Sensenig, Damían Setton, Bal Krishna Sharma, Carolyn J. Sharp, Thomas Sheehan, N. Gerald Shenk, Christian Sheppard, Charles Sherlock, Tabona Shoko, Walter B. Shurden, Marguerite Shuster, B. Mark Sietsema, Batara Sihombing, Neil Silberman, Clodomiro Siller, Samuel Silva-Gotay, Heikki Silvet, John K. Simmons, Hagith Sivan, James C. Skedros, Abraham Smith, Ashley A. Smith, Ted A. Smith, Daud Soesilo, Pia Søltoft, Choan-Seng (C. S.) Song, Kathryn Spink, Bryan Spinks, Eric O. Springsted, Nicolas Standaert, Brian Stanley, Glen H. Stassen, Karel Steenbrink, Stephen J. Stein, Andrea Sterk, Gregory E. Sterling, Columba Stewart, Jacques Stewart, Robert B. Stewart, Cynthia Stokes Brown, Ken Stone, Anne Stott, Elizabeth Stuart, Monya Stubbs, Marjorie Hewitt Suchocki, David Kwang-sun Suh, Scott W. Sunquist, Keith Suter, Douglas Sweeney, Charles H. Talbert, Shawqi N. Talia, Elsa Tamez, Joseph B. Tamney, Jonathan Y. Tan, Yak-Hwee Tan, Kathryn Tanner, Feiya Tao, Elizabeth S. Tapia, Aquiline Tarimo, Claire Taylor, Mark Lewis Taylor, Bishop Abba Samuel Wolde Tekestebirhan, Eugene TeSelle, M. Thomas Thangaraj, David R. Thomas, Andrew Thornley, Scott Thumma, Marcelo Timotheo da Costa, George E. “Tink” Tinker, Ola Tjørhom, Karen Jo Torjesen, Iain R. Torrance, Fernando Torres-Londoño, Archbishop Demetrios [Trakatellis], Marit Trelstad, Christine Trevett, Phyllis Trible, Johannes Tromp, Paul Turner, Robert G. Tuttle, Archbishop Desmond Tutu, Peter Tyler, Anders Tyrberg, Justin Ukpong, Javier Ulloa, Camillus Umoh, Kristi Upson-Saia, Martina Urban, Monica Uribe, Elochukwu Eugene Uzukwu, Richard Vaggione, Gabriel Vahanian, Paul Valliere, T. J. Van Bavel, Steven Vanderputten, Peter Van der Veer, Huub Van de Sandt, Louis Van Tongeren, Luke A. Veronis, Noel Villalba, Ramón Vinke, Tim Vivian, David Voas, Elena Volkova, Katharina von Kellenbach, Elina Vuola, Timothy Wadkins, Elaine M. Wainwright, Randi Jones Walker, Dewey D. Wallace, Jerry Walls, Michael J. Walsh, Philip Walters, Janet Walton, Jonathan L. Walton, Wang Xiaochao, Patricia A. Ward, David Harrington Watt, Herold D. Weiss, Laurence L. Welborn, Sharon D. Welch, Timothy Wengert, Traci C. West, Merold Westphal, David Wetherell, Barbara Wheeler, Carolinne White, Jean-Paul Wiest, Frans Wijsen, Terry L. Wilder, Felix Wilfred, Rebecca Wilkin, Daniel H. Williams, D. Newell Williams, Michael A. Williams, Vincent L. Wimbush, Gabriele Winkler, Anders Winroth, Lauri Emílio Wirth, James A. Wiseman, Ebba Witt-Brattström, Teofil Wojciechowski, John Wolffe, Kenman L. Wong, Wong Wai Ching, Linda Woodhead, Wendy M. Wright, Rose Wu, Keith E. Yandell, Gale A. Yee, Viktor Yelensky, Yeo Khiok-Khng, Gustav K. K. Yeung, Angela Yiu, Amos Yong, Yong Ting Jin, You Bin, Youhanna Nessim Youssef, Eliana Yunes, Robert Michael Zaller, Valarie H. Ziegler, Barbara Brown Zikmund, Joyce Ann Zimmerman, Aurora Zlotnik, Zhuo Xinping
- Edited by Daniel Patte, Vanderbilt University, Tennessee
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- Book:
- The Cambridge Dictionary of Christianity
- Published online:
- 05 August 2012
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- 20 September 2010, pp xi-xliv
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Correcting Double Vision in The Comedy of Errors
- Edited by Christopher Cobb, North Carolina State University, M. Thomas Hester, North Carolina State University
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- Renaissance Papers 2006
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- Boydell & Brewer
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- 12 September 2012
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- 01 September 2007, pp 91-96
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Summary
AS the tendency to produce The Comedy of Errors with one actor playing both parts of the Antipholus Twins (and another actor for both parts of the Dromio roles) seems to be on the increase, perhaps it might be useful to examine this directional device, which invites us—as the reviewers point out—to admire the skill of the actor in distinguishing the two personalities in the two roles. I have not sought out records of directors' attempts to stage The Comedy with one actor for the two roles; no doubt it is a scheme to save a second actor's salary. It is evident, however, that the trend began sometime in the 1960's and has continued. To start at the top, we might remember that the RSC performed it that way in 1990 in Stratford. The production was amusing, but basically flawed. It was, to borrow a phrase, “solely singular for the singleness.” Dr. Robert Smallwood, reviewing the production, observed that the doubling limited “the audience's participation in the joy of recognition and reconciliation … to simple curiosity about how the trick was done.” That is not a helpful approach to this rollicking and serious play. On the other hand, the Company did it brilliantly in Tim Supple's production in 1996.
The individual twins are carefully separated by Shakespeare during the course of the play; a single actor could indeed double in the two parts of Antipholus—perhaps not of Dromio (see below)—until the end of the play when the twins are finally together on stage at the same time, “hand in hand.”
Shakespeare's Twins: Choric Juxtaposition
- Edited by Christopher Cobb, North Carolina State University, M. Thomas Hester, North Carolina State University
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- Renaissance Papers 2005
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- Boydell & Brewer
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- 12 September 2012
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- 28 April 2006, pp 43-50
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SEVERAL years ago, I presented a paper before the Shakespeare Association arguing against the modern custom in productions of The Comedy of Errors of allowing one actor to play both roles of the Antipholus Twins (and one for both of the Dromios). I suggested that such doubling was contrary to Shakespeare's intent and, indeed, nullified some of the effects of choric juxtaposition of the two Twins that Shakespeare had been at pains to produce. As a specific instance of Shakespeare's intention, I cited Act III, scene i, where on two occasions—both before and after the scene—one twin makes his exit and immediately the other twin makes his entrance—what I call immediate juxtaposition. That these two near-meetings are not chance occasions, just dropped in by the Poet to amuse us, is evident from their placement in the play. They occur immediately before and immediately after the central scene of the play, III.i. The stage directions (in edited texts, not in the Folio which lacks this detail) are explicit both at the beginning of the scene:
Exit Antipholus. | Enter Antipholus.
(II.ii / III.i);
and at the end of the scene:
Exit Antipholus. | Enter Antipholus.
(III.i / III.ii)
Addendum
- Edited by Christopher Cobb, North Carolina State University, M. Thomas Hester, North Carolina State University
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- Renaissance Papers 2004
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- Boydell & Brewer
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- 12 September 2012
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- 01 April 2005, pp 127-130
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Some significant evidence in literary terms for Crashaw's reverting in his last year at Rome to an Anglican tradition may lie in the concluding 24 verses of “The Flaming Heart,” which appeared in the 1652 edition, not in the 1648 edition. As far as I am aware, no close study of the bibliography of those lines has ever been undertaken, certainly nothing so close and persuasive as J.C. Maxwell's study of the 1646/1648 editions. Although the sample is small, some interesting ideas may be drawn from it to support Professor Wall's proposition. Professor Wall has suggested that I might add to his paper these supplementary and supportive notes, and the editors have approved.
The 1652 Paris edition, Carmen Deo Nostro, is a quarto volume, grander in every way than its predecessor, the 1648 London edition, Steps to the Temple, a small duodecimo. It is not, furthermore, a reprint of the London edition, and it is likely that it was set from a fresh manuscript copy of the earlier poems and of new poems, probably in the hand of Thomas Car, whom we consider the “editor” of the posthumous volume. Two elements at once are noticeable in a comparison of the two editions: the London edition uses modern typography with “i/j” and “u/v” (except for capital letters) whereas the Paris edition four years later continues old-style typography; and the London edition uses italics for distinguishing type, the Paris edition capitals.
14 - ‘Time for such a word’: verbal echoing in Macbeth
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- By George Walton Williams, Duke University
- Edited by Catherine M. S. Alexander, Shakespeare Institute, University of Birmingham
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- Shakespeare and Language
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- 15 December 2009
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- 30 September 2004, pp 240-250
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It is a critical commonplace that Macbeth's opening line – ‘So foul and fair a day I have not seen’ (1.3.36), whatever its particular referents may be – ‘is singularly important to Macbeth's character, echoing as it does the enigmatic and ominous chant of the Witches as they conclude their first appearance: ‘Fair is foul, and foul is fair’ (1.1.10). That the play begins with the witches strikingly adumbrates their immanent presence throughout the play; that they are the first to mention the name of the hero confirms their importance. The play and the character both will live under the shadow and the menace of these opening lines – the shortest first scene in the canon. The scene includes this gnomic utterance that destroys ‘the distinction [between] … foul and fair’ with it the Witches verbalize their position, standing for ‘those who have said “Evil, be thou my good.”’ Their contrasting adjectives occur often in proverbial contexts in English, but the paradox here suggested is unusual, though not unique, in the tradition. ‘Fair without but foul within’, says the proverb; the Witches say that fairness and foulness are the same, a point that Shakespeare had expressed with extraordinary foreshadowing in Love's Labour's Lost: ‘“Fair” in “all hail” is foul, as I conceive’ (5.2.340).
By repeating the adjectives and reversing their sequence in the second half of the Witches' line, Shakespeare calls particular attention to these words, invests them with mystery, and fixes them in our minds so that when Macbeth speaks them just over one hundred lines later, his echo of the Witches' diction comes in with an eerie, secondary force (independently of the speaker's presumed intention).
‘Time for Such a Word’: Verbal Echoing in Macbeth
- Edited by Stanley Wells, University of Birmingham
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- Shakespeare Survey
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- 28 March 2007
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- 03 November 1994, pp 153-160
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Summary
It is a critical commonplace that Macbeth’s opening line – ‘So foul and fair a day I have not seen’ (1.3.36), whatever its particular referents may be – ‘is singularly important to Macbeth’s character, echoing as it does the enigmatic and ominous chant of the Witches as they conclude their first appearance: ‘Fair is foul, and foul is fair’ (1.1.10). That the play begins with the witches strikingly adumbrates their immanent presence throughout the play; that they are the first to mention the name of the hero confirms their importance. The play and the character both will live under the shadow and the menace of these opening lines – the shortest first scene in the canon. The scene includes this gnomic utterance that destroys ‘the distinction [between] . . . foul and fair’; with it the Witches verbalize their position, standing for ‘those who have said “Evil, be thou my good.”’ Their contrasting adjectives occur often in proverbial contexts in English, but the paradox here suggested is unusual, though not unique, in the tradition. ‘Fair without but foul within’, says the proverb; the Witches say that fairness and foulness are the same, a point that Shakespeare had expressed with extraordinary foreshadowing in Love’s Labour’s Lost: “‘Fair” in “all hail” is foul, as I conceive’ (5.2.340).
By repeating the adjectives and reversing their sequence in the second half of the Witches' line, Shakespeare calls particular attention to these words, invests them with mystery, and fixes them in our minds so that when Macbeth speaks them just over one hundred lines later, his echo of the Witches' diction comes in with an eerie, secondary force (independently of the speaker's presumed intention).
3 - Textual Studies
- Edited by Stanley Wells, University of Birmingham
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- Shakespeare Survey
- Published online:
- 28 March 2007
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- 15 December 1983, pp 181-196
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Of the eight editions and the many studies to come before this review this year, the crowning achievement is Professor Harold Jenkins’s monumental and magisterial edition of Hamlet for the new Arden Shakespeare. There is every likelihood also that this edition will prove to be the crown of the entire series. The edition is 592 pages in length–by far the largest of the series. The single element that occasions this substance is the section of ‘Longer Notes’. We must be grateful to the publishers for having accepted the proposition that Hamlet could not fully be edited without these Notes–150 pages of detailed and thoughtful analysis of the specific problems in the play. On most of them Jenkins finds ways to surprise with the unexpected simplicity and cogency of his argument. At the other end of the volume the Introduction offers another 159 pages, treasure troves of fresh ideas.
the Longer Notes Jenkins's treatment of Ophelia and of her two 'fathers' - the fishmonger (2.2.171-2) and Jephthah (2.2.398-9). Jenkins explains for the benefit of directors that Polonius's precepts are not funny (1.3); he argues that Horatio and Marcellus swear three times on Hamlet's sword (1.5) - pointing out that three different oaths are proposed to them by Hamlet; he declares that the 'nunnery' (3.1) 'for Ophelia is a sanctuary from... the world's contamination' (p. 496), yet he admits that Hamlet's iteration of the word does not rule out the possibility of ambiguity; he justifies Hamlet's 'more horrid hent' in postponing the death of Claudius (3.3): 'the convention enables revenge to be shown in its most repulsive aspect' (p. 515); and he sees Hamlet's apology to Laertes (5.2) as representing the fact that Hamlet 'wrongs Laertes not by "a purpos'd evil" but "when he's not himself" (p. 567).
3 - Textual Studies
- Edited by Stanley Wells
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- Shakespeare Survey
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- 28 March 2007
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- 25 November 1982, pp 179-192
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The notable work of the year in Textual Studies has been the support and momentum given to the thesis that there are two texts of King Lear, both Shakespearian, both acceptable. The year has produced one article and two book-length studies of the problem. The article ‘The War in “ King Lear ”’, by Gary Taylor, was noticed in these columns after its oral presentation in 1980. An important contribution to the argument, it reinforces the position taken by Steven Urkowitz in Shakespeare’s Revision of ‘ King Lear’. One chapter in this volume, ‘The Role of Albany in the Quarto and Folio’, argues in detail the position advanced by Michael J. Warren in his seminal paper delivered at the International Shakespeare Association Congress in 1976, but the remarkable value of the study resides in Urkowitz’s keen sense of the dramatic spectacle–action on stage. ‘Variants [from the Quarto] in the Folio text introduce complex changes in characterization [e.g. Albany], as well as simpler adjustments in the rhythms and the sense of dialogues. Major variants also create new designs for individual scenes and for the succession of scenes. Other significant variants present revised instructions to individual actors and to groups of actors for their entrances and exits. . . . With only one or two exceptions, . . . [all of these] variants may be seen as intentional revisions, in the light of the ordinary dramatic practices of Shakespeare and his acting company’ (p. 17).
3 - Textual Studies
- Edited by Stanley Wells
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- Shakespeare Survey
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- 28 March 2007
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- 04 February 1982, pp 187-198
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The Arden Shakespeare has graced the year with the publication of two volumes, A Midsummer Night’s Dream and Romeo and Juliet, so happily paired that we are tempted to suppose that the General Editors, joined now by Brian Morris, planned it that way from the beginning. It is not so, of course, for Brian Gibbons, the successor to the late John Crow in the editorship of Romeo and Juliet, began his work ‘from scratch in 1973’; and Harold F. Brooks confesses in his preface that ‘ A Midsummer Night’s Dream has had a pre-eminent place’ in his affections since the afternoon in 1914 when he attended Granville-Barker’s golden production. It is not too much to say that Brooks’s edition, bearing yet the marks of that inspiration, began at that matinée.
The conjunction of the two volumes sharpens our perspective on the relationships between the two plays. The most interesting of these to this reviewer is the question of dating. Brooks assembles all possible material on the date of A Midsummer Night's Dream from literary, topical, occasional, and stylistic considerations (twenty-three pages) and concludes that it 'was composed in the winter of 1595-6, for the Carey wedding' on 19 February 1596 (p. lvii) and that it probably followed Romeo and Juliet (p. xliii).
3 - Textual Studies
- Edited by Kenneth Muir
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- Shakespeare Survey
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- 28 March 2007
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- 29 January 1981, pp 205-212
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While some scholars hold that the production of articles on the habits of the compositors of Shakespeare’s plays is of questionable value, other scholars continue to produce such articles; the past year seems to have been generously supplied with provocative studies of the busy typesetters of Folio and Quartos. Jaggard’s Compositor B of the First Folio has received the closest scrutiny.
In articles on the texts of All's Well that Ends Well and of Julius Caesar, Fredson Bowers addresses the fidelity of B in the formal detail of copying speech prefixes. Though this quality of B’s work is not the primary concern of these studies, it is of interest that Bowers depends on that fidelity for the conclusions of both of them: ‘Compositor B. . . , would not be likely to go against copy [for a prefix] except perhaps in mechanical matters of abbreviation... [or] in the establishment of a favorite short form of the same prefix’ (p. 68).
R. Chris HasselJr. , Renaissance Drama and the English Church Year. Lincoln-London: University of Nebraska Press, 1979, ix+215 pp. $15.
- George Walton Williams
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- Journal:
- Renaissance Quarterly / Volume 33 / Issue 3 / Autumn 1980
- Published online by Cambridge University Press:
- 20 November 2018, pp. 468-470
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- Autumn 1980
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3 - Textual Studies
- Edited by Kenneth Muir
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- Shakespeare Survey
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- 28 March 2007
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- 17 January 1980, pp 237-248
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The most significant contribution to the year’s work has been the publication of the New Variorum As You Like It by the Modern Language Association of America. The New Variorum series, initiated by Horace Howard Furness in 1871, continued by his son, transferred to the Modern Language Association, has been near moribund since the publication in 1955 of Richard II, edited by the late Matthew Black. But hope has not died, and under the patient perseverance of James G. McManaway, now General Editor Emeritus, and the able direction of Robert K. Turner, Jr, General Editor, the giant has risen to new energies. Commenting on the vigor of this ‘New New Variorum’ Richard Knowles, the Associate Editor of the series, and the editor of the As You Like It, has announced in a paper delivered before the Variorum Committee that Measure for Measure was sent to the printer in December 1977, that seven editions are nearly complete, and that fourteen others are in active preparation. Some of these editions, like the present volume, are intended to supersede earlier volumes (the Furness edition of As You Like It appeared in 1890); others will present plays not previously included and thus complete the original design.
3 - Textual Studies
- Edited by Kenneth Muir
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- Shakespeare Survey
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- 28 March 2007
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- 19 January 1979, pp 191-198
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Last year this review took unaccustomed note of the deaths of three eminent Shakespearian editors, and it is with regret that it must add to its Necrology this year the names of Alfred Harbage and Charlton Hinman, the former the general editor of the Pelican Shakespeare in America, the latter the author of the monumental study of the printing of the First Folio.
Perhaps the most important item of bibliographical interest in 1976-7 was the publication of Volume 2 (I-Z) of the revised Short Title Catalogue, edited by W. A. Jackson and F. S, Ferguson, completed and seen through the press by the generous and capable Katharine F. Pantzer. Yet, important as it surely is, the new STC adds little to Shakespearian bibliography: two late issues of the Second Folio published after 1640 and one edition of The Passionate Pilgrim earlier than the 'first' edition in the unrevised STC (unique copy, fragmentary, at the Folger Library).
Oxford Shakespeare Concordances: Richard II, Richard III, Henry IV Part 1, Henry IV Part 2, Henry V, Henry VI Part 3, Henry VIII. Ed. T. H. Howard-Hill. Oxford: At the Clarendon Press, 1971. $12 each volume except Henry VI Part 3, $8.
- George Walton Williams
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- Journal:
- Renaissance Quarterly / Volume 26 / Issue 3 / Autumn 1973
- Published online by Cambridge University Press:
- 20 November 2018, pp. 366-367
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- Autumn 1973
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Marc F. Bertonasco. Crashaw and the Baroque. University, Ala.: The University of Alabama Press, 1971. vii+158 pp. $6.
- George Walton Williams
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- Journal:
- Renaissance Quarterly / Volume 26 / Issue 1 / Spring 1973
- Published online by Cambridge University Press:
- 20 November 2018, pp. 86-87
- Print publication:
- Spring 1973
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Oxford Shakespeare Concordances: The Tempest, Two Gentlemen of Verona, The Merry Wives of Windsor, Measure for Measure, The Comedy of Errors. Ed. T. H. Howard-Hill. Oxford, at the Clarendon Press, 1969. 50/- ($7) each volume.
- George Walton Williams
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- Journal:
- Renaissance Quarterly / Volume 24 / Issue 1 / Spring 1971
- Published online by Cambridge University Press:
- 20 November 2018, pp. 90-92
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- Spring 1971
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John W. Shroeder. The Great Folio of 1623: Shakespeare's Plays in the Printing House. Hamden, Conn.: The Shoe String Press, 1956. xii+125 pp. 29 plates. Photo-offset. $5.
- George Walton Williams
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- Journal:
- Renaissance News / Volume 11 / Issue 1-Part1 / Spring 1958
- Published online by Cambridge University Press:
- 20 November 2018, pp. 33-35
- Print publication:
- Spring 1958
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