This article challenges A.W. Pollard’s foundational distinction between good and bad quartos, which confuses ethical and bibliographical categories. Some quartos are badly inked, or printed on poor-quality paper. But Q1 Hamlet is a professional, well-made commodity. Zachary Lesser has conjectured that Q1 sold poorly, and has claimed that the similarity of the title pages of Q1 and Q2 supports that hypothesis. But both title pages are typical of Ling’s books, and their similarities are no more remarkable than those in Ling’s different quartos of Michael Drayton’s poems. Q1 Hamlet apparently sold more quickly than Q2. Using D.W. Winnicott’s theories about the ‘good enough mother’ and ‘transitional objects’, we can identify Q1 as a ‘good enough quarto’.
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Hamlet as a Material Object
The Authorship and Date of the First Quarto of Hamlet
Ever since the discovery of the first quarto of Hamlet (Q1) in 1823, it has generated fierce debate among scholars about its origin. Recently, Terri Bourus has written a powerful book-length argument that Q1 was indeed by Shakespeare, as its title page states, and that he wrote it by 1589. The present article bolsters Bourus’s conclusion with a careful look at its title page claims as well as the literary satires of Thomas Nashe, Gabriel Harvey and Ben Jonson. Specifically, Q1’s title page and apparent allusions to Hamlet in the early 1590s pamphlet war of Nashe and Harvey independently confirm an earlier chronology for the tragedy. Jonson also attributes a line exclusive to Q1 to his caricature of Shakespeare in Every Man Out of His Humor (1600). The evidence suggests Shakespeare had written Q1 much earlier than conventionally assumed and that there was no ‘lost Hamlet’.
Nazera Sadiq Wright. 2016. Black Girlhood in the Nineteenth Century. Urbana, University of Illinois Press.
Black girls have a history of resilience. Nazera Sadiq Wright, in Black Girlhood in the Nineteenth Century (2016), analyzes accounts of the experiences of black girls from what she refers to as “youthful” girlhood to the conscious or “prematurely knowing” (44) age of 18. Setting out to recover overlooked accounts of black girlhood during the nineteenth century, a tumultuous epoch of transition for the black community, Wright uses contemporaneous literary and visual texts such as black newspapers, novels, poetry, and journals to reconstruct this lost narrative. By engaging in a close reading of these texts, in which black people, emerging from slavery, communicated with each other about personal and community goals, Wright examines the ways in which the instruction of black girls operated in between the lines of literature to convey codes of conduct to the black community. She argues that with the emergence of literature written by and for black women, the role of the black girl morphed from docile homemaker to resilient heroine for herself and her people. In discussing this more complex role, Wright does not deny that black girls were vulnerable to multiple forms of violence and hurt, but does point to a more nuanced experience. Black Girlhood in the Nineteenth Century is an intervention into the African American literary canon, filling in many of the gaps in the lost history of black girlhood, making it an essential text for those “who care” (22) about black girls as they engage in the process of rewriting and redeeming the narratives of an often-forgotten population.
Player Tested, Shakespeare Approved
The first or ‘bad’ quarto of Hamlet is the subject of much debate. Is it an early version of the play as some scholars suggest? Or is it corrupted memorial reconstruction, a product of ‘fast writing’ transcription, or just a pirated version of the play rushed into print? In this article I posit that the first quarto is indeed a valid text that deserves to be recognised for its unique, unfussy, playable brilliance. That the text provides clues (if one knows how to look), that elucidate answers to many of the questions that productions must contend with. I believe it to be a time-capsule version of sorts that is a product of what the actors truly performed, rather than a celebration of the poet’s aspirationally complex verse.
Remembering and Forgetting World War II Indochina
M. Kathryn Edwards and Eric Jennings
This article analyzes the complex memorial stakes of the events that unfolded in French Indochina during World War II. It first considers the wartime years and analyzes the French frameworks for understanding the Vichy period and the Japanese takeover. It then delves into two memorial trends: the rehabilitation of the French resistance in Indochina and the commemoration of victims of the 9 March 1945 Japanese coup. These trends have produced a double elision: the focus on resistance to the Japanese has displaced previous allegiance to Vichy, and the emphasis on the victimhood of the French settler community has overshadowed responsibility for colonial violence.
Why Q1 Hamlet Matters
This introduction situates the special double issue ‘Canonizing Q1 Hamlet’ in the context of the early publication history of Shakespeare’s tragedy and the recent critical and editorial interest in the first edition. The first edition of Hamlet – often called ‘Q1’, shorthand for ‘first quarto’ – was published in 1603, in what we might regard as the early modern equivalent of a cheap paperback. Q1 Hamlet is becoming increasingly canonical not because there is universal agreement about what it is or what it means, but because more and more Shakespearians agree that it is worth arguing about. If we read or perform it, rather than simply dismissing it (as was done for most of the twentieth century), Q1 makes us think: about performance, book history, Shakespeare’s relationships with his contemporaries, and the shape of his whole career.
In 1988, Michelle Fine explored the ways in which damaging patriarchal discourses about sexuality affect adolescent girls, and hinder their development of sexual desire, subjectivities, and responsibility. In this article, I emphasize the durability and pliability of those discourses three decades later. While they have endured, they shift depending on context and the intersections of girls’ race, class, and gender identities. Calling on ethnographic research, I analyze the intersectional nuances in these sexual lessons for Latina girls in one (New) Latinx Diaspora town.
How Does Form Reveal Relation?
Through the study of form, we explore how relations constitute persons for the Huni Kuin of Western Amazonia. Shamanistic song, and the role in it of patterned design, reveals a specific aesthetics that emphasizes processes of becoming, transformation, and figure/ground reversal. Since bodily substances and actions of others affect the ‘thinking body’, well-being depends on making visible the relational network that exists inside and outside one’s embodied self. An aesthetic battlefield unfolds where the doubles of ingested substances invert the predatory relation and come to envelop the ‘eye soul’ of the one who ingested them with their design and ornaments. This setting allows us to address the fractal quality of personhood and the permanent disequilibrium between symmetrical and asymmetrical relations in Amazonia.
Entre collaboration, opportunisme et « nécessité de vivre »
Amid severe shortages of raw materials, labor, and transportation, companies in occupied France (1940–1944) sought alternative paths to what is commonly called “economic collaboration.” They worked to find substitute supplies, convert to new product lines, alter their manufacturing methods, and even adapt to the black market. But few businesses could avoid the question of whether to provide goods and services to the occupier. The opportunities to do so were widespread, though they varied according to occupation, economic branch, and the passage of time during the Occupation. The German occupiers thus benefited from the French economy. With decisive help from the Vichy regime, the occupiers managed to force, induce, or entice French enterprises into their war economy—be they large industries formerly mobilized for French national defense, small and medium-sized firms, or agricultural producers.
Folds, Wraps, and Relations in the Southern Andes
This article explores how viscera, bodies, and forces emerge in resemblance to one another. In the connections between the animals’ butcher, the treatment of body parts, and the rituals of herd marking in the Argentinean highlands, folds and wrappings of viscera, leathers, meats, and dances make things ‘look like’ something else in different scales, highlighting correspondences or reflections between entities. Each level of these compositions refers to another, and a change in one can affect all of them. Resemblances are constantly evaluated and topologically manipulated, either to enable their mutual stimulation or to avoid connections and thus to establish differences between the perspectives of different beings. This article argues that the fabrication of similarities and differences through the manipulation of resemblances offers a privileged key to an understanding of Andean and Amerindian sociality.