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- W1974224500 abstract "There ern drama are reasons is emerging to think from that a professional period of methodological criticism of early consolimodern dr ma is merging from a period of methodological con olidation, comforted by a sense of its canonical importance but nagged by a certain intellectual restlessness. Few areas of criticism can claim to have undergone a more radical reinvention over the past forty years, and arguably no field has had a more significant impact on the way that literary scholarship as a whole has come to be practiced in the academy. In retrospect, the rise of historicism as an international critical orthodoxy can be traced directly to the studies of Shakespeare, Jonson, Marlowe, and their contemporaries that were published during the 1980s and early 1990s by New Historicist and Cultural Materialist critics working in both the United States and the United Kingdom. When I entered graduate school in 1994, these methods were being reinvigorated by a turn to the history of the book, through which drama was coming to be regarded primarily as a printed form; today, the study of print and the history of reading arguably forms the dominant mode of historicist inquiry in the field. This shift toward the history of the book was possible partly because of the strong grip that terms such as culture and materialism continued to hold on the critical imagination; it can also be understood as part of a more general drive toward an objective criticism based on archive and fact, one that would allow literary studies" @default.
- W1974224500 created "2016-06-24" @default.
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- W1974224500 date "2012-01-01" @default.
- W1974224500 modified "2023-09-26" @default.
- W1974224500 title "Toward a New Theatricality?" @default.
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- W1974224500 doi "https://doi.org/10.1353/rnd.2012.0000" @default.
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