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Shakespeare Only Hardcover Jeffrey Knapp
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Item specifics
- Condition
- Very Good
- Seller Notes
- Features
- EX-LIBRARY
- Book Title
- Shakespeare Only Hardcover Jeffrey Knapp
- ISBN
- 9780226445717
About this product
Product Identifiers
Publisher
University of Chicago Press
ISBN-10
0226445712
ISBN-13
9780226445717
eBay Product ID (ePID)
72646732
Product Key Features
Number of Pages
256 Pages
Publication Name
Shakespeare only
Language
English
Subject
Drama, Shakespeare, European / English, Irish, Scottish, Welsh
Publication Year
2009
Type
Textbook
Subject Area
Literary Criticism
Format
Hardcover
Dimensions
Item Height
0.1 in
Item Weight
15.1 Oz
Item Length
0.9 in
Item Width
0.6 in
Additional Product Features
Intended Audience
Scholarly & Professional
LCCN
2009-006781
Reviews
�Jeffrey Knapp�s Shakespeare Only is a decisive and brilliant advance in our understanding of Shakespeare and of his literary culture. The book sweeps away many wide-spread misconceptions about Renaissance authorship and provides detailed evidence for the ways Elizabethan and Jacobean readers and audiences actually thought about the creators of the plays they enjoyed. Above all, Knapp provides a remarkable, deeply compelling account of Shakespeare�s own strangely paradoxical conception of authorship. That conception, Knapp shows, entailed in the interest of ambition the abandonment of dreams of absolute sovereignty and an unprecedented plunge into collaboration and commonness.��Stephen Greenblatt, �One of the profession�s finest historicists takes on one of that school�s most precious credos: the tenet that authorship as we know it did not exist in Shakespeare�s England. Knapp does not reject the historicist enterprise, however, in favor of an unreformed Bardolatory, but rather renders more vivid and precise our picture of just what dramatic authorship was and could be in the Renaissance. With erudition, tact, and the deepest sympathy for both the poetry and the praxis of England�s greatest playwright, Knapp delivers us a Shakespeare whose experiments with different authorial models, including collaborative ones, helped shape the form and pressure of his plays.��Julia Reinhard Lupton, University of California, Irvine, "Was Shakespeare one of a kind? The pursuit of this question leads Jeffrey Knapp on a wide-ranging study of Renaissance authorship. Amassing a formidable array of fact and argument, Shakespeare Only takes issue with the collaborative model of playwrighting currently in vogue among historicist critics, and argues persuasively that the single-author paradigm established itself in the theater earlier and more forcefully than has been thought. Knapp shows that the much-maligned 'author-function' plays a vital role not only in the production of Renaissance drama but in the plots of the plays themselves, where themes of death, resurrection, and inheritance frequently allegorize the vicissitudes of authorship. This is a sharply-argued intervention in current critical debates."-Richard Halpern, Johns Hopkins University, The readings of the plays . . . are wide-ranging, sometimes iconoclastic, and, in many instances, fascinating., Shakespeare Only is a major revisionary study. This historically contextualized account of Shakespeare's sense of authorship alters our understanding not only of him and his chief reval, Ben Johnson (who gets illuminating treatment throughout as Shakespeare's foil), but also, more broadly, of the changing nature of English Renaissance dramatic authorship. Jeffrey Knapp argues that Shakespeare, embracing the commercial theater in which he was playwright, actor, and stockholder, staked his claim to greatness on a literary versatility attuned to his diverse audience. As befits a book on Shakespeare's masterful variety, Knapp brings to bear a range of scholarly virtues rarely found together: an imaginative yet healthily skeptical approach to historical evidence, a command of theoretical debates with an eye alert to obfuscations and unwarranted assumptions, and an extremely subtle critical handling of literary texts and their implications., The readings of the plays . . . are wide-ranging, sometimes iconoclastic, and, in many instances, fascinating., One of the profession's finest historicists takes on one of that school's most precious credos: the tenet that authorship as we know it did not exist in Shakespeare's England. Knapp does not reject the historicist enterprise, however, in favor of an unreformed Bardolatory, but rather renders more vivid and precise our picture of just what dramatic authorship was and could be in the Renaissance. With erudition, tact, and the deepest sympathy for both the poetry and the praxis of England's greatest playwright, Knapp delivers us a Shakespeare whose experiments with different authorial models, including collaborative ones, helped shape the form and pressure of his plays., "One of the profession's finest historicists takes on one of that school's most precious credos: the tenet that authorship as we know it did not exist in Shakespeare's England. Knapp does not reject the historicist enterprise, however, in favor of an unreformed Bardolatory, but rather renders more vivid and precise our picture of just what dramatic authorship was and could be in the Renaissance. With erudition, tact, and the deepest sympathy for both the poetry and the praxis of England's greatest playwright, Knapp delivers us a Shakespeare whose experiments with different authorial models, including collaborative ones, helped shape the form and pressure of his plays."-Julia Reinhard Lupton, University of California, Irvine, Knapp's intriguing thesis is that Shakespeare consciously sought a singular status as an author by going against the dominant early modern elitism. Shakespeare, in this reading, understands that modern capitalist necessity of having a broad base for commercial and artistic success., Was Shakespeare one of a kind? The pursuit of this question leads Jeffrey Knapp on a wide-ranging study of Renaissance authorship. Amassing a formidable array of fact and argument, Shakespeare Only takes issue with the collaborative model of playwrighting currently in vogue among historicist critics, and argues persuasively that the single-author paradigm established itself in the theater earlier and more forcefully than has been thought. Knapp shows that the much-maligned 'author-function' plays a vital role not only in the production of Renaissance drama but in the plots of the plays themselves, where themes of death, resurrection, and inheritance frequently allegorize the vicissitudes of authorship. This is a sharply-argued intervention in current critical debates., "One of the profession's finest historicists takes on one of that school's most precious credos: the tenet that authorship as we know it did not exist in Shakespeare's England. Knapp does not reject the historicist enterprise, however, in favor of an unreformed Bardolatory, but rather renders more vivid and precise our picture of just what dramatic authorship was and could be in the Renaissance. With erudition, tact, and the deepest sympathy for both the poetry and the praxis of England's greatest playwright, Knapp delivers us a Shakespeare whose experiments with different authorial models, including collaborative ones, helped shape the form and pressure of his plays."Julia Reinhard Lupton, University of California, Irvine, "In his timely and persuasive new book, Knapp deftly charts the waters between the Scylla and Charybdis of Shakespeare's authorial identity. . . . Knapp's attention to detail, astute research, and careful synthesis of late twentieth-century scholarship is impressive. . . . Shakespeare Only in invaluable for its clear retelling of the history of Shakespeare studies over the past thirty years and its reconsideration of single authorship.", �Was Shakespeare one of a kind? The pursuit of this question leads Jeffrey Knapp on a wide-ranging study of Renaissance authorship. Amassing a formidable array of fact and argument, Shakespeare Only takes issue with the collaborative model of playwrighting currently in vogue among historicist critics, and argues persuasively that the single-author paradigm established itself in the theater earlier and more forcefully than has been thought. Knapp shows that the much-maligned �author-function� plays a vital role not only in the production of Renaissance drama but in the plots of the plays themselves, where themes of death, resurrection, and inheritance frequently allegorize the vicissitudes of authorship. This is a sharply-argued intervention in current critical debates.��Richard Halpern, Johns Hopkins University, "Jeffrey Knapp's Shakespeare Only is a decisive and brilliant advance in our understanding of Shakespeare and of his literary culture. The book sweeps away many wide-spread misconceptions about Renaissance authorship and provides detailed evidence for the ways Elizabethan and Jacobean readers and audiences actually thought about the creators of the plays they enjoyed. Above all, Knapp provides a remarkable, deeply compelling account of Shakespeare's own strangely paradoxical conception of authorship. That conception, Knapp shows, entailed in the interest of ambition the abandonment of dreams of absolute sovereignty and an unprecedented plunge into collaboration and commonness."-Stephen Greenblatt, Jeffrey Knapp's Shakespeare Only is a decisive and brilliant advance in our understanding of Shakespeare and of his literary culture. The book sweeps away many wide-spread misconceptions about Renaissance authorship and provides detailed evidence for the ways Elizabethan and Jacobean readers and audiences actually thought about the creators of the plays they enjoyed. Above all, Knapp provides a remarkable, deeply compelling account of Shakespeare's own strangely paradoxical conception of authorship. That conception, Knapp shows, entailed in the interest of ambition the abandonment of dreams of absolute sovereignty and an unprecedented plunge into collaboration and commonness., "Was Shakespeare one of a kind? The pursuit of this question leads Jeffrey Knapp on a wide-ranging study of Renaissance authorship. Amassing a formidable array of fact and argument, Shakespeare Only takes issue with the collaborative model of playwrighting currently in vogue among historicist critics, and argues persuasively that the single-author paradigm established itself in the theater earlier and more forcefully than has been thought. Knapp shows that the much-maligned 'author-function' plays a vital role not only in the production of Renaissance drama but in the plots of the plays themselves, where themes of death, resurrection, and inheritance frequently allegorize the vicissitudes of authorship. This is a sharply-argued intervention in current critical debates."Richard Halpern, Johns Hopkins University, "Jeffrey Knapp's Shakespeare Only is a decisive and brilliant advance in our understanding of Shakespeare and of his literary culture. The book sweeps away many wide-spread misconceptions about Renaissance authorship and provides detailed evidence for the ways Elizabethan and Jacobean readers and audiences actually thought about the creators of the plays they enjoyed. Above all, Knapp provides a remarkable, deeply compelling account of Shakespeare's own strangely paradoxical conception of authorship. That conception, Knapp shows, entailed in the interest of ambition the abandonment of dreams of absolute sovereignty and an unprecedented plunge into collaboration and commonness."Stephen Greenblatt, Overturns the new historicist position that authorial production by a singular individual is a mid-18th-century notion . . . But Knapp's destruction of this new historicist idea pales by comparison with his readings of Shakespeare's work . . . in which he shows that Shakespeare's writing is oriented around authorship. Most striking is Knapp's revelation that Shakespeare empowers his own authorial identity by repeatedly emphasizing his shame at being an author . . . Essential., Shakespeare Only is a major revisionary study. This historically contextualized account of Shakespeare's sense of authorship alters our understanding not only of him and his chief rival, Ben Johnson (who gets illuminating treatment throughout as Shakespeare's foil), but also, more broadly, of the changing nature of English Renaissance dramatic authorship. Jeffrey Knapp argues that Shakespeare, embracing the commercial theater in which he was playwright, actor, and stockholder, staked his claim to greatness on a literary versatility attuned to his diverse audience. As befits a book on Shakespeare's masterful variety, Knapp brings to bear a range of scholarly virtues rarely found together: an imaginative yet healthily skeptical approach to historical evidence, a command of theoretical debates with an eye alert to obfuscations and unwarranted assumptions, and an extremely subtle critical handling of literary texts and their implications., In his timely and persuasive new book, Knapp deftly charts the waters between the Scylla and Charybdis of Shakespeare's authorial identity. . . . Knapp's attention to detail, astute research, and careful synthesis of late twentieth-century scholarship is impressive. . . . Shakespeare Only in invaluable for its clear retelling of the history of Shakespeare studies over the past thirty years and its reconsideration of single authorship.
Dewey Edition
22
Dewey Decimal
822.3/3
Table Of Content
Preface Acknowledgments Introduction 1 Our Humble Author 2 The Author Staged 3 The Author Sacrificed 4 The Author Revived Epilogue Notes Works Cited Index
Synopsis
Three decades of controversy in Shakespeare studies can be summed up in a single question: Was Shakespeare one of a kind? On one side of the debate are the Shakespeare lovers, the bardolatrists, who insist on Shakespeare's timeless preeminence as an author. On the other side are the theater historians who view modern claims of Shakespeare's uniqueness as a distortion of his real professional life. In Shakespeare Only , Knapp draws on an extraordinary array of historical evidence to reconstruct Shakespeare's authorial identity as Shakespeare and his contemporaries actually understood it. He argues that Shakespeare tried to adapt his own singular talent and ambition to the collaborative enterprise of drama by imagining himself as uniquely embodying the diverse, fractious energies of the popular theater. Rewriting our current histories of authorship as well as Renaissance drama, Shakespeare Only recaptures a sense of the creative force that mass entertainment exerted on Shakespeare and that Shakespeare exerted on mass entertainment.
LC Classification Number
PR2937.K59 2009
Item description from the seller
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- a***4 (327)- Feedback left by buyer.Past 6 monthsVerified purchaseThe book was in excellent condition, as described in the listing, and was excellently packaged, arriving in unblemished condition. The shipping time was very quick. While the listing showed the book with a dust jacket, the book did not come with one. I brought this to the attention of the seller, who responded to me right away, and was satisfied with the seller's explanation. I have to say that the service was in every way outstanding.
- c***m (448)- Feedback left by buyer.Past 6 monthsVerified purchaseWOW!; I cannot believe this 1 Week to Hawaii! ; AAA+++; Excellent Service; Great Pricing; Fast Delivery-Faster Than Expected to Hawaii!; Shipped 05/22 Received 06/02 Mon to Hawaii using free shipping; USPS Ground Mail, Hardback Book in Excellent Condition--Better Than Described ; Heavier than expected, TLC Packaging; Excellent Seller Communication, Sends updates . Highly Recommended!, Thank you very much!Un-American: the Incarceration of Japanese Americans During World (#376181103084)
- h***2 (1201)- Feedback left by buyer.Past 6 monthsVerified purchaseThe book arrived swiftly packaged in a protective plastic envelope, but it was a paperback not hardcover as listed. I contacted seller and they apologized, refunded me and suggested several things to do with the book after allowing me to keep it. I have gone ahead and ordered a hardcover from the same seller. I’m a repeat customer and hope to remain so. This mixup was a first, but I’m very impressed with their prompt response and professionalism. Kudos :)50 Charles M. Russell Paintings of the Old American West from the (#277117402401)
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Seller feedback (481,121)
- a***4 (327)- Feedback left by buyer.Past 6 monthsVerified purchaseThe book was in excellent condition, as described in the listing, and was excellently packaged, arriving in unblemished condition. The shipping time was very quick. While the listing showed the book with a dust jacket, the book did not come with one. I brought this to the attention of the seller, who responded to me right away, and was satisfied with the seller's explanation. I have to say that the service was in every way outstanding.
- c***m (448)- Feedback left by buyer.Past 6 monthsVerified purchaseWOW!; I cannot believe this 1 Week to Hawaii! ; AAA+++; Excellent Service; Great Pricing; Fast Delivery-Faster Than Expected to Hawaii!; Shipped 05/22 Received 06/02 Mon to Hawaii using free shipping; USPS Ground Mail, Hardback Book in Excellent Condition--Better Than Described ; Heavier than expected, TLC Packaging; Excellent Seller Communication, Sends updates . Highly Recommended!, Thank you very much!Un-American: the Incarceration of Japanese Americans During World (#376181103084)
- h***2 (1201)- Feedback left by buyer.Past 6 monthsVerified purchaseThe book arrived swiftly packaged in a protective plastic envelope, but it was a paperback not hardcover as listed. I contacted seller and they apologized, refunded me and suggested several things to do with the book after allowing me to keep it. I have gone ahead and ordered a hardcover from the same seller. I’m a repeat customer and hope to remain so. This mixup was a first, but I’m very impressed with their prompt response and professionalism. Kudos :)50 Charles M. Russell Paintings of the Old American West from the (#277117402401)