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Contributors
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- By Waiel Almoustadi, Brian J. Anderson, David B. Auyong, Michael Avidan, Michael J. Avram, Roland J. Bainton, Jeffrey R. Balser, Juliana Barr, W. Scott Beattie, Manfred Blobner, T. Andrew Bowdle, Walter A. Boyle, Eugene B. Campbell, Laura F. Cavallone, Mario Cibelli, C. Michael Crowder, Ola Dale, M. Frances Davies, Mark Dershwitz, George Despotis, Clifford S. Deutschman, Brian S. Donahue, Marcel E. Durieux, Thomas J. Ebert, Talmage D. Egan, Helge Eilers, E. Wesley Ely, Charles W. Emala, Alex S. Evers, Heidrun Fink, Pierre Foëx, Stuart A. Forman, Helen F. Galley, Josephine M. Garcia-Ferrer, Robert W. Gereau, Tony Gin, David Glick, B. Joseph Guglielmo, Dhanesh K. Gupta, Howard B. Gutstein, Robert G. Hahn, Greg B. Hammer, Brian P. Head, Helen Higham, Laureen Hill, Kirk Hogan, Charles W. Hogue, Christopher G. Hughes, Eric Jacobsohn, Roger A. Johns, Dean R. Jones, Max Kelz, Evan D. Kharasch, Ellen W. King, W. Andrew Kofke, Tom C. Krejcie, Richard M. Langford, H. T. Lee, Isobel Lever, Jerrold H. Levy, J. Lance Lichtor, Larry Lindenbaum, Hung Pin Liu, Geoff Lockwood, Alex Macario, Conan MacDougall, M. B. MacIver, Aman Mahajan, Nándor Marczin, J. A. Jeevendra Martyn, George A. Mashour, Mervyn Maze, Thomas McDowell, Stuart McGrane, Berend Mets, Patrick Meybohm, Charles F. Minto, Jonathan Moss, Mohamed Naguib, Istvan Nagy, Nick Oliver, Paul S. Pagel, Pratik P. Pandharipande, Piyush Patel, Andrew J. Patterson, Robert A. Pearce, Ronald G. Pearl, Misha Perouansky, Kristof Racz, Chinniampalayam Rajamohan, Nilesh Randive, Imre Redai, Stephen Robinson, Richard W. Rosenquist, Carl E. Rosow, Uwe Rudolph, Francis V. Salinas, Robert D. Sanders, Sunita Sastry, Michael Schäfer, Jens Scholz, Thomas W. Schnider, Mark A. Schumacher, John W. Sear, Frédérique S. Servin, Jeffrey H. Silverstein, Tom De Smet, Martin Smith, Joe Henry Steinbach, Markus Steinfath, David F. Stowe, Gary R. Strichartz, Michel M. R. F. Struys, Isao Tsuneyoshi, Robert A. Veselis, Arthur Wallace, Robert P. Walt, David C. Warltier, Nigel R. Webster, Jeanine Wiener-Kronish, Troy Wildes, Paul Wischmeyer, Ling-Gang Wu, Stephen Yang
- Edited by Alex S. Evers, Washington University School of Medicine, St Louis, Mervyn Maze, University of California, San Francisco, Evan D. Kharasch, Washington University School of Medicine, St Louis
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- Book:
- Anesthetic Pharmacology
- Published online:
- 11 April 2011
- Print publication:
- 10 March 2011, pp viii-xiv
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- Chapter
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Shakespeare’s Earliest Editor, Ralph Crane
- Edited by Stanley Wells
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- Book:
- Shakespeare Survey
- Published online:
- 28 March 2007
- Print publication:
- 05 December 1991, pp 113-130
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- Chapter
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Summary
Nicholas Rowe is usually taken to be Shakespeare’s first editor, ‘perhaps’, Gary Taylor suggests, ‘because he is the first we can confidently name’. The reservation rests on his contention that the editing of Shakespeare’s works ‘began with the publication of the first editions of his works in the 1590s’. No doubt this is correct in that the translation of a play from study to print is inevitably accompanied by the alteration of textual details and the addition of such accoutrements as title-pages, dedications, commendatory epistles or poems intended to facilitate purchase and reading. Indeed, we may extend this implicit definition of editing further, to apply it to the kinds of adjustments that are made to a playwright’s text in order to fit it to the stage and the performance which first publishes it abroad. From the moment a playwright stabilizes his conception in a text that embodies his intention for the work in any satisfactory manner, a series of successive destabilizing processes are set in motion. The function if not the purpose of the stage is to appropriate the playwright’s work, willingly relinquished, to represent it in forms that do not respond to the originary moment of creation. On the other hand, publication in print involves a procrustean translation of the work from one arena of performance to another: the attempt to stabilize a final reading text destabilizes the playwright’s original text.
Modern editors are properly aware of these processes for the stabilization of textual variation lies at the heart of their mystery. But in modern times it is not useful to extend the noble title of 'editor' undiscriminatingly to the myriad scribes, book-keepers, compositors, friends of the author or of the press, and printers or publishers who have busied themselves with the text of any of Shakespeare's works. Rowe and his successors from Pope (through to Taylor himself no doubt) conceived that they operated with significantly different methods and objects from those of, for instance, the humble scribe or compositor, and observation that their functions are similar in one or another respect should not obscure recognition of the areas of editorial concern which were not usually shared by early scribes, compositors or, even, publishers of individual works.
The Evolution of the Form of Plays in English During the Renaissance
- T. H. Howard-Hill
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- Journal:
- Renaissance Quarterly / Volume 43 / Issue 1 / Spring 1990
- Published online by Cambridge University Press:
- 20 November 2018, pp. 112-145
- Print publication:
- Spring 1990
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- Article
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The modern arrangement of the texts of plays evolved from the confluence of two distinct methods of setting out plays for readers and theatrical use. The earliest, which I shall call the native tradition, had its seeds in the European liturgical drama and is most clearly manifested in the manuscripts of the early moral plays and of guild plays associated with Corpus Christi from the fourteenth century to the cessation of the performances late in the sixteenth century. The second is the classical method, exemplified by the early printings of the plays of Terence, Plautus, and Seneca from 1470 onwards and adopted by the university educated writers of secular plays in the sixteenth century.