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Lädt ... Owning William Shakespeare: The King's Men and Their Intellectual Property (Material Texts)von James J. Marino
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Copyright is by no means the only device for asserting ownership of a work. Some writers, including playwrights in the early modern period, did not even view print copyright as the most important of their authorial rights. A rich vein of recent scholarship has examined the interaction between royal monopolies, which have been identified with later notions of intrinsic authorial ownership, and the internal copy registration practices of the English book trades. Yet this dialogue was but one part of a still more complicated conversation in early modern England, James J. Marino argues; other customs and other sets of professional demands were at least as important, most strikingly in the exercise of the performance rights of plays. In Owning William Shakespeare James Marino explores the actors' system of intellectual property as something fundamentally different from the property regimes exercised by the London printers or the royal monopolists. Focusing on Hamlet, The Taming of the Shrew, King Lear, and other works, he demonstrates how Shakespeare's acting company asserted ownership of its plays through intense rewriting combined with progressively insistent attribution to Shakespeare. The familiar versions of these plays were created through ongoing revision in the theater, a process that did not necessarily begin with Shakespeare's original manuscript or end when he died. An ascription by the company of any play to "Shakespeare" did not imply that it was following a fixed, authorial text; rather, Marino writes, it indicates an attempt to maintain exclusive control over a set of open-ended, theatrically revised scripts. Combining theater history, textual studies, and literary theory, Owning William Shakespeare rethinks both the way Shakespeare's plays were created and the way they came to be known as his. It overturns a century of scholarship aimed at re-creating the playwright's lost manuscripts, focusing instead on the way the plays continued to live and grow onstage. Keine Bibliotheksbeschreibungen gefunden. |
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Google Books — Lädt ... GenresMelvil Decimal System (DDC)792.9The arts Recreational and performing arts Stage presentations, Theatre Stage productionsKlassifikation der Library of Congress [LCC] (USA)BewertungDurchschnitt:
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In “Owning Shakespeare” by James J. Marino
Mediocrity has always ruled. And it still rules today, but in a different form. Someone once said that great poetry can no longer be written because we are now all democrats, aren't we? Mediocrity is good these days because it is 'democratic', not because it is aristocratic or Oxbridge elitist. But what we mean by "democracy" here is really bureaucracy. The plethora of creative-writing scholarships and courses promoting the most mediocre work is just one expression of this. For me, I think some of the great Shakespeare debates are side-shows (in Marino’s case the so-called “Sincklo/Soto Problem” in the play “The Taming of the Shrew”, or, should I say “The Taming of a Shrew”?) distracting us from the fact that mediocre values continue to be triumphant in our present poetic culture. I’m sure books and “problems” like these contribute to a true appreciation of Shakespeare unlike the ones dealing with the ill-reputed Authorship Question...Everyone is dancing round their handbags at this party... Once you get into the core truth of what Shakespeare is about - the philosophy, the language, the breathtaking understanding of human nature, the poignancy, you have to concede to a greater power somewhere within. Yes a genius, there's no other word, but surrounded by a core group to feed ideas, information, tales from Italy, the classics, translations (and works not yet translated). But there are so many questions and interrogations regarding Shakespeare: The Authorship Question I mentioned above, Who Edited the 1623 Folio, Who Shortened King Lear, etc.
The rest of this review can be found on my blog. ( )