MARC Record from marc_columbia

LEADER: 04068cam a2200457 i 4500
001 12326730
005 20170221151053.0
008 150310s2015 enka b 001 0 eng
010 $a 2015008272
020 $a9781107096172$qhardcover
020 $a1107096170$qhardcover
024 8 $a40024859321
035 $a(OCoLC)ocn898162915
035 $a(OCoLC)898162915
035 $a(NNC)12326730
040 $aDLC$erda$beng$cDLC$dYDX$dBTCTA$dCDX$dOCLCF$dCHVBK$dYDXCP$dSTF$dYUS$dS3O$dHRM
042 $apcc
050 00 $aPR2937$b.K56 2015
082 00 $a822.3/3$223
100 1 $aKirwan, Peter,$eauthor.
245 10 $aShakespeare and the idea of Apocrypha :$bnegotiating the boundaries of the dramatic canon /$cPeter Kirwan.
264 1 $aCambridge, United Kingdom:$bCambridge University Press,$c2015.
300 $axii, 258 pages :$billustrations ;$c24 cm
336 $atext$2rdacontent
337 $aunmediated$2rdamedia
338 $avolume$2rdacarrier
520 $a"In addition to the thirty-six plays of the First Folio, some eighty plays have been attributed in whole or part to William Shakespeare, yet most are rarely read, performed or discussed. This book, the first to confront the implications of the 'Shakespeare Apocrypha', asks how and why these plays have historically been excluded from the canon. Innovatively combining approaches from book history, theatre history, attribution studies and canon theory, Peter Kirwan unveils the historical assumptions and principles that shaped the construction of the Shakespeare canon. Case studies treat plays such as Sir Thomas More, Edward III, Arden of Faversham, Mucedorus, Double Falsehood and A Yorkshire Tragedy, showing how the plays' contested 'Shakespearean' status has shaped their fortunes. Kirwan's book rethinks the impact of authorial canons on the treatment of anonymous and disputed plays"--$cProvided by publisher.
520 $a"The Idea of Apocrypha All held Apocrypha, not worth survey. Falsehoods On 2 April 1796, London's Drury Lane Theatre presented a recently unearthed play by William Shakespeare. Vortigern and Rowena, 'discovered' by William Henry Ireland, played to a derisive crowd, whose disbelief in the play's authenticity was shared by the theatre's manager, John Philip Kemble. Kemble, in the lead role, pointedly repeated the line 'and when this solemn mock'ry is ended', inviting ridicule from the crowd. The production was not revived, and the whole incident contributed to the unravelling of Ireland's claims. The authenticity of the play - along with the other purportedly Shakespearean documents unearthed by Ireland and his father Samuel - had been attacked only a fortnight earlier by the leading Shakespearean editor of the day, Edmond Malone, in An Inquiry into the Authenticity of Certain Miscellaneous Papers and Legal Instruments. Malone's statement of intent makes clear his chosen role as a defender of Shakespeare: It has been said, and I believe truly, that every individual of this country, whose mind has been at all cultivated, feels a pride in being able to boast of our great dramatick poet, Shakspeare, as his countryman:"--$cProvided by publisher.
504 $aIncludes bibliographical references and index.
505 0 $aIntroduction: the idea of Apocrypha -- Canonising the Apocrypha -- The Apocrypha in rep -- Defining 'Shakespeare' -- Apocryphising the canon -- Epilogue: an apocryphal identity -- Appendix -- Works cited -- Index.
600 10 $aShakespeare, William,$d1564-1616$xAuthorship.
600 17 $aShakespeare, William,$d1564-1616.$2fast$0(OCoLC)fst00029048
650 7 $aAuthorship.$2fast$0(OCoLC)fst00822442
600 17 $aShakespeare, William,$d1564-1616.$0(DE-588)118613723$2gnd
650 7 $aDrama.$0(DE-588)4012899-4$2gnd
650 7 $aAutorschaft.$0(DE-588)4130545-0$2gnd
600 14 $aShakespeare, William,$d1564-1616.
650 7 $aDramatik.$2sao
650 7 $aFörfattarskap.$2sao
856 42 $3Cover image$uhttp://assets.cambridge.org/97811070/96172/cover/9781107096172.jpg
852 00 $bglx$hPR2937$i.K56 2015