The Re-Imagined Text: Shakespeare, Adaptation, and Eighteenth-Century Literary TheoryUniversity Press of Kentucky, 2014 M07 15 - 208 páginas Shakespeare's plays were not always the inviolable texts they are almost universally considered to be today. The Restoration and eighteenth century committed what many critics view as one of the most subversive acts in literary history—the rewriting and restructuring of Shakespeare's plays. Many of us are familiar with Nahum Tate's "audacious" adaptation of King Lear with its resoundingly happy ending, but Tate was only one of a score of playwrights who adapted Shakespeare's plays. Between 1660 and 1777, more than fifty adaptations appeared in print and on the stage, works in which playwrights augmented, substantially cut, or completely rewrote the original plays. The plays were staged with new characters, new scenes, new endings, and, underlying all this novelty, new words. Why did this happen? And why, in the later eighteenth century, did it stop? These questions have serious implications regarding both the aesthetics of the literary text and its treatment, for the adaptations manifest the period's perceptions of Shakespeare. As such, they demonstrate an important evolution in the definition of poetic language, and in the idea of what constitutes a literary work. In The Re-Imagined Text, Jean I. Marsden examines both the adaptations and the network of literary theory that surrounds them, thereby exploring the problems of textual sanctity and of the author's relationship to the text. As she demonstrates, Shakespeare's works, and English literature in general, came to be defined by their words rather than by the plots and morality on which the older aesthetic theory focused—a clear step toward our modern concern for the word and its varying levels of signification. |
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... roles made popular by the introduction of actresses. Not surprisingly, the elements which made Restoration plays successful began to appear in the adaptations of Shakespeare, as managers of the new theaters felt that many of ...
... role in the Restoration adaptations as playwrights restructured Shakespeare's plays in order to adapt them to topical events, such as the new practice of actresses on the stage, or political upheaval (particularly true of the plays ...
... roles was constricted, an outgrowth of social as well as theatrical change. Drama devoted new attention to the ... roles for their new female characters. In addition to the successful adaptations of Cymbeline (1682) and The Merchant of ...
... role of “meekness” in virtuous behavior. Meekness appeared near the head of any list of a woman's virtues, identified as both a woman's Christian duty and as a physiological necessity. In The Ladies Calling (1673), the most widely read ...
... role, but forced unwillingly into impropriety by “Fortune.” Her definition echoes the views of women's place ... roles; women should not dabble in the public realm as does Lady Macbeth. Lady Macbeth is further marginalized by the ...
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