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Graham Holderness and Bryan Loughrey

Hamlet in the series was greeted by Brian Vickers in the Times Literary Supplement as ‘Hamlet by Dogberry’, and as a ‘perverse reading’ of the text. 2 Most of Vickers’ long review was taken up with defending the ‘memorial reconstruction’ hypothesis

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Laurie Johnson

proposed that the three abiding positions on Hamlet transmission – the first draft, memorial reconstruction, and abridged performance text theories – could all be correct in some degree so long as the proponents of each could abandon their adherence to a

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The Hybrid Hamlet

Player Tested, Shakespeare Approved

Christopher Marino

am aware of some of the prevailing theories concerning Q1, such as memorial reconstruction errors on the part of the actors, a bootlegged or botched version which is a product of ‘fast writing’ transcription, or an early draft. It is my belief that

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Q1 Hamlet

The Sequence of Creation and Implications for the ‘Allowed Booke’

Charles Adams Kelly and Dayna Leigh Plehn

the term ‘bad quarto’, 2 and throughout the twentieth century as scholars grappled with the nature of irregular early texts, the theory of bad quartos created by memorial reconstruction attracted, like flypaper, a total of forty-one early quartos by

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Michael M. Wagoner

was itself a textual interruption: it was a rupture that broke the premise and revealed much about how readers understand what ‘is’ Hamlet . When critics degrade Q1 as a ‘memorial reconstruction’ or ‘pirated text’, they reassert the power of the

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John V. Nance

for the presence of Q1 have often involved labelling it as a memorial reconstruction, an analytical procedure that can recall the hermeneutics of spectrality itself. 5 Ghosts are something like memorial constructions in the sense that they are

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‘Brief Let Me Be’

Telescoped Action and Characters in Q1 and Q2 Hamlet

Tommaso Continisio

as a posterior memorial reconstruction of Q2, allegedly realised by either the rogue actors interpreting the parts of Marcellus, Lucianus and Voltemand (Voltemar in Q1) or the whole cast of a specific production, who might have recited their lines to

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Gary Taylor

theory of memorial reconstruction, which dominated twentieth-century Shakespearian textual criticism and editing, asserts that a text like Q1 reflects the imperfect memory of an actor, who played a small part in early performances of the play. If that