Add to ORKGIn a review of this kind it can be difficult to know where to stop; after all, 'editions and textual studies' could encompass almost anything written about Shakespeare. In the past I have, at the risk of stepping on other contributors' toes, noticed items that discuss such matters as how the wording of stage directions affects performance. This year, because there are a great many (over 70) items to review, I shall discuss only work showing what an editor has done, or exhorting what an editor should do, or announcing a discovery about evidence that might shape what an editor will do
Edited by Stanley Wells and Lena Cowen Orlin, Shakespeare: An Oxford Guide provides a practical and ...
This paper was presented on 9 April 2010 in the Panel ''Texts in Motion (II): Collating Press Varian...
This article engages with one of the current critical and bibliographical concerns of Shakespeare st...
The file attached to this record is the authors final peer reviewed version. The publishers final ve...
No-one reads a Shakespeare play more closely than an editor making a critical edition, although the ...
Shakespeare editing in the twentieth century involves a history of practice, and a history of ideas ...
Covering the changes in Shakespeare editorial theory and practice over the decades between the publi...
We know Shakespeare's writings only from imperfectly-made early editions, from which editors struggl...
A favourable review of "Shakespeare and the Classics", edited by Charles Martindale and A.B. Taylor ...
Play scripts differ from prose narratives and poetry because they are meant to undergo a further tra...
A generation ago, many Shakespearean scholars simply accepted the versions of the play that they wer...
There is no one, true definitive version of Shakespeareʼs plays. Shakespeare wrote his work to be pe...
This commentary feature considers the advantages of using textual criticism to teach Shakespeare and...
The Imprints of Performance is motivated by a longstanding interest in the fundamental interpretive ...
Bringing together leading scholars to examine crucial questions regarding the theory and practice of...
Edited by Stanley Wells and Lena Cowen Orlin, Shakespeare: An Oxford Guide provides a practical and ...
This paper was presented on 9 April 2010 in the Panel ''Texts in Motion (II): Collating Press Varian...
This article engages with one of the current critical and bibliographical concerns of Shakespeare st...
The file attached to this record is the authors final peer reviewed version. The publishers final ve...
No-one reads a Shakespeare play more closely than an editor making a critical edition, although the ...
Shakespeare editing in the twentieth century involves a history of practice, and a history of ideas ...
Covering the changes in Shakespeare editorial theory and practice over the decades between the publi...
We know Shakespeare's writings only from imperfectly-made early editions, from which editors struggl...
A favourable review of "Shakespeare and the Classics", edited by Charles Martindale and A.B. Taylor ...
Play scripts differ from prose narratives and poetry because they are meant to undergo a further tra...
A generation ago, many Shakespearean scholars simply accepted the versions of the play that they wer...
There is no one, true definitive version of Shakespeareʼs plays. Shakespeare wrote his work to be pe...
This commentary feature considers the advantages of using textual criticism to teach Shakespeare and...
The Imprints of Performance is motivated by a longstanding interest in the fundamental interpretive ...
Bringing together leading scholars to examine crucial questions regarding the theory and practice of...
Edited by Stanley Wells and Lena Cowen Orlin, Shakespeare: An Oxford Guide provides a practical and ...
This paper was presented on 9 April 2010 in the Panel ''Texts in Motion (II): Collating Press Varian...
This article engages with one of the current critical and bibliographical concerns of Shakespeare st...