By Christa Jansohn, Lena Cowen Orlin, and Stanley Wells (Editors)
Shakespeare without borders: Essays in Honor of Dieter Mehl deals a wide-ranging number of essays written via a global crew of distinct students who try to outline, to problem, and to erode obstacles that presently inhibit realizing of Shakespeare, and to exemplify how ways that defy conventional bounds of analysis and feedback may possibly increase knowing and delight of a dramatist who stated no limitations in art.The quantity is released in tribute to Professor Dieter Mehl, whose serious and scholarly paintings on authors from Chaucer via Shakespeare to D. H. Lawrence has transcended temporal and nationwide obstacles in its diversity and scope, and who, as Ann Jennalie cook dinner writes, has contributed considerably to the erasure of political barriers that experience endangered the team spirit of German literary scholarship and, extra widely, via his paintings for the foreign Shakespeare organization, to the globalization of Shakespeare reviews.
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Extra resources for Shakespeare Without Boundaries: Essays in Honor of Dieter Mehl
35 This is an elaborate chain of speculation. I have no evidence that Heywood’s wife—or even Heywood himself—had a hand in the writing of this play. Moreover, I have been unable to discover anything at all about Heywood’s wife. Earlier scholars believed that she may have been Anne Buttler, who married 44 PHYLLIS RACKIN a man named Thomas Heywood in 1603, but nothing else was known about Anne. 36 It is entirely possible that neither the names of the women who took part in the writing of Heywood’s (or any other) commercial plays nor references to their existence may ever be found.
Thomas Heywood, Script-Doctor Grace Ioppolo THOMAS HEYWOOD (C. 1574–1641), WHO CLAIMED TO HAVE HAD “EITHER an entire hand, or at least a maine finger” in 220 plays, was one of the most prolific and influential dramatists of the Elizabethan, Jacobean, and early Caroline theater. Heywood was also recognized in his own time as a master essayist, producing numerous prose tracts, treatises, pamphlets, and broadsides, and in them, to use his own terms, he “dissected” and “anatomised” the religious and political dilemmas of contemporary monarchs and their courts.
25 Although the issue of priority might be debated, Masten’s analysis of the ways the Renaissance rhetoric of authorship excluded women is subtle and convincing. The mere act of taking pen in hand was often verbally coded as masculine: puns on “pen” and “penis,” comparisons of pens to weapons, repeated declarations that women’s hands were better suited to needles, all helped to erect a gendered boundary between women and writing. Nonetheless, many women crossed that boundary, and there are several reasons for believing that the assumptions embedded in such language would not have entirely prevented women from writing for the sixteenth-century companies of English players.