What does textual evidence reveal about the author?

Mardock, James D.; Rasmussen, Eric

doi:10.1017/cbo9781139084352.013

Cited by 3 publications

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“…The collaborations were not only with other playwrights but also with directors and actors. Mardock and Rasmussen (2013) demonstrate that an analysis of love comedies of the 1590s suggests that there were two boy actors playing female parts -one tall and fair and one short and dark -given the number of female pairings in plays from this period which have these characteristics. Moreover, they argue that the excision of Innogen from Much Ado About Nothing which 'critics usually explain […] in terms of literary craft' (p. 114) instead reflects the more practical considerations of casting for a company that had no more than four boy actors.…”

Section: Collaborative and Contingent Creativitymentioning

confidence: 88%

For a Good Poet's Made, as Well as Born: The Relational Ontology of Shakespeare’s Genius

Ross

Vallée-Tourangeau

2018

Creativity. Theories – Research - Applications

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Folk and scholarly conjectures on the nature of creative genius often focus on intrapsychic processes: The explanations centre on the person, the creator, transcending the more prosaic forces that shape everyday, routine cognition. Focusing on the alleged extraordinary character of a creator deflects attention from the emergent, distributed and relational nature of creativity. A more productive research agenda considers a range of factors, operating at different time scales, that guide and constrain the manufacture of creativity. We argue that a transactional perspective is particularly fruitful for the analysis of the dramatic work of William Shakespeare. Drama is an inherently relational art form created by the writer, the director, actors and audience. Further, Shakespeare's output is a palimpsest of classical texts and writers contemporary to him, and was shaped by practical constraints. Viewing his work as situated in a historical time period and in a dialogue with other voices gives us a fuller account of the ontological locus of his creativity.

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Section: Collaborative and Contingent Creativitymentioning

confidence: 88%

For a Good Poet's Made, as Well as Born: The Relational Ontology of Shakespeare’s Genius

Ross

Vallée-Tourangeau

2018

Creativity. Theories – Research - Applications

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Shakespeare's Rise to Cultural Prominence

Depledge

2018

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De quem é esta tragédia? Traduzindo Arden of Faversham

Closel

2022

Letras

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Este artigo traz considerações sobre a tradução de Arden of Faversham para o português e o método que estabeleci para trabalhar com peças colaborativas, a tradução prismática. A discussão recorre a exemplos de relevantes variações textuais encontradas nas três versões iniciais da obra e nas edições contemporâneas. Ao preservar as diferenças baseadas em diversas origens, o método de tradução permite que o resultado destaque a história do texto. O método empregado extrai possibilidades autorizadas pelas publicações do período. Variações apontam para a pergunta-título, cujas respostas podem ser buscadas na alternância existente entre palavras no título da peça, a composição dramática, os protagonistas e a autoria.

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What does textual evidence reveal about the author?

Cited by 3 publications

References 0 publications

For a Good Poet's Made, as Well as Born: The Relational Ontology of Shakespeare’s Genius

For a Good Poet's Made, as Well as Born: The Relational Ontology of Shakespeare’s Genius

Shakespeare's Rise to Cultural Prominence

De quem é esta tragédia? Traduzindo Arden of Faversham

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