Ovid and Adaptation in Early Modern English Theatre / / Lisa Starks.

• Superior document: Title is part of eBook package: De Gruyter Edinburgh University Press Complete eBook-Package 2019
• VerfasserIn: Starks, Lisa,
• MitwirkendeR: Casey, Jim,; Chess, Simone,; Feather, Jennifer,; Garrison, John S.,; Geddes, Louise,; Gieskes, Ed,; Kelley, Shannon,; Lauby, Daniel G.,; Oakley-Brown, Liz,; Staines, John D,; Stanivukovic, Goran,; Starks, Lisa S,; Starks, Lisa S.,; Uman, Deborah,; Winiarski, Catherine,
• Place / Publishing House: Edinburgh : : Edinburgh University Press, , [2022]; ©2019
• Year of Publication: 2022
• Language: English
• Physical Description: 1 online resource (296 p.) :; 2 B/W illustrations

Uses adaptation and appropriation studies to explore early modern textual and theatrical metamorphoses of OvidApplies contemporary theoretical approaches, such as gender/queer/trans studies, feminist ecostudies, hauntology, rhizomatic adaptation, transmedialityUses adaptation studies in analyzing early modern transformations of OvidFocuses on the appropriations of Ovid" (as an umbrella term for "all things Ovidian") on the early modern English stageIncludes chapters on Shakespeare and Marlowe as well as other early modern dramatistsDid you know that Ovid was a multifaceted icon of lovesickness, endless change, libertinism, emotional torment and violence in early modern England? This is the first collection to use adaptation studies in connection with other contemporary theoretical approaches in analysing early modern transformations of Ovid. It provides innovative perspectives on the ‘Ovids’ that haunted the early modern stage, while exploring intersections between adaptation theory and gender/queer/trans studies, ecofeminism, hauntology, transmediality, rhizomatics and more. This book examines the multidimensional, ubiquitous role that Ovid and Ovidian adaptations played in English Renaissance drama and theatrical performance."

Table of Contents

Frontmatter -- Contents -- Permissions -- Acknowledgments -- Notes on Contributors -- Introduction: Representing “Ovids” on the Early Modern English Stage -- Part I. Gender/Queer/Trans Studies and Ovidian Rhizomes -- 1 Queer Gender Informants in Ovid and Shakespeare -- 2 Women in Trees: Adapting Ovid for John Lyly’s Love’s Metamorphosis (1589) -- 3 Queer Fidelity: Marlowe’s Ovid and the Staging of Desire in Dido, Queen of Carthage -- 4 “Let Rome in Tiber melt”: Hermaphroditic Transformation in Antonius and Antony and Cleopatra -- Part II Ovidian Specters and Remnants -- 5 Ovid’s Ghosts: Lovesickness, Theatricality, and Ovidian Spectrality on the Early Modern English Stage -- 6 Medea’s Afterlife: Encountering Ovid in The Tempest -- 7 Remnants of Virgil, Ovid, and Paul in Titus Andronicus -- Part III Affect, Rhetoric, and Ovidian Appropriation -- 8 Power, Emotion, and Appropriation in Ovid’s Tristia and Shakespeare’s Henry V -- 9 Appropriating Ovid’s Tyrannical Raptures in Macbeth -- 10 Ovid and the Styles of Adaptation in The Two Gentlemen of Verona -- Part IV Ovid Remixed: Transmedial, Rhizomatic, and Hyperreal Adaptations -- 11 “Truly, and very notably discharg’d”: The Metamorphosis of Pyramus and Thisbe and the Place of Appropriation on the Early Modern Stage -- 12 The Golden Age Rescored?: Ovid’s Metamorphoses and Thomas Heywood’s The Ages -- 13 “Materia conveniente modis”: Early Modern Dramatic Adaptations of Ovid -- 14 Worse than Philomel, Worse than Actaeon: Hyperreal Ovid in Shakespeare’s Titus Andronicus -- Index