Thomas Pavel examines the question of authorship for two plays, one from the 17th and the other from the 18th century, which directly relate to Cervantes' Don Quixote. Pavel's examination offers reflections on the connections between novellas and plays, as well as the possibilities of authors from the same historical period to demonstrate divergent ideas on shared subjects. This chapter has been slightly revised from its original publication by the author.
Roland Greene delivers the keynote lecture on "The Renaissance World of Cervantes and Shakespeare" at the Humanities West presentation on Shakespeare and Cervantes (February 26, 2016).
We should be contemplating and generating other philologies, future philologies, in Shakespeare studies.
The treatment of the military subject in Shakespeare’s Roman plays complicates early modern cultural understandings of the material aspects of militant nostalgia.
It is one thing to take inspiration from another's work for one's own creative writing, but it is entirely another to complete a work first conceived and named in another's fiction. What to make of such fictions within fictions?
Masten considers what queer philology can uncover in the Shakespearean text from the period before lexical standardization.
This chapter explores Hamlet's infamous dirty joke in light of the Q1 manuscript.
If Shakespeare’s greatest characters quake to their very core with the realization of what they cannot see, or lose their reason altogether when they finally grasp how little they understood, Cervantes crafted an entirely new way of writing around his characters’ limitations and the incompatibility of their different perceptions of the world.
My Shakespeare class finally persuaded me to take a class trip to go see the new Roland Emmerich movie, Anonymous. I went forewarned.
Rather than marking the advent of "modernity," the year 1610 commemorates a wave of permanent human-induced changes to the Earth system.