Browsing by Author "Bourus, Terri"

Now showing 1 - 10 of 11
  • Thumbnail Image
    Item
  • Thumbnail Image
    Item
    Enter Shakespeare’s Young Hamlet, 1589
    (Société Française Shakespeare, 2016-02-29) Bourus, Terri; Department of English, School of Liberal Arts
    This essay argues that Q1 Hamlet represents the earliest version of Shakespeare’s play, written in the late 1580s. The argument builds upon, and for the first time combines, evidence in Terri Bourus, Young Shakespeare’s Young Hamlet: Print, Piracy and Performance (2014) and Zachary Lesser, Hamlet After Q1 (2015). It concentrates on differences between Q1 and the later, expanded, canonical texts of the play, specifically in relation to the age of Hamlet and the Queen. It emphasizes that Hamlet’s age crucially affects the age, sexuality, and political importance of his mother (an issue ignored by male critics). Hamlet’s age has been a factor in performances of the play from Burbage and Betterton in the seventeenth century to 2015 productions of Q1. Why then did Harold Jenkins in 1982 dismiss the importance of Hamlet’s age? To contextualize Jenkins’ dismissal (founded on the principles of both New Criticism and New Bibliography), this essay traces scholarship on the age difference back to the 1870s. It focuses particularly on the conflict between two influential texts: A. C. Bradley’s Shakespearean Tragedy (1904) and L.C. Knight’s “How Many Children Had Lady Macbeth?” (1933). It also calls attention to neglected details of Thomas Nashe’s 1589 allusion to “whole Hamlets of tragical speaches”: these point to Shakespeare as the author of the 1580s play, and also to specific details found in Q1 but not present in Belleforest’s story of Amleth in Histoires Tragiques.
  • Thumbnail Image
    Item
    The First Quarto of Hamlet in Film: The Revenge Tragedies of Tony Richardson and Franco Zeffirelli
    (Publisher of original article: Brunel University West London. EnterText may be found online at: [LINK]http://www.brunel.ac.uk/about/acad/sa/artresearch/entertext/issues[/LINK]., 2001-08) Bourus, Terri
    In 1969, Tony Richardson released a filmed version of his acclaimed theatrical production of Hamlet. Twenty-one years, and many staged productions of Hamlet later, Franco Zeffirelli filmed yet another, and very different, Hamlet. Whereas Richardson’s is darkly minimal, Zeffirelli’s colourful and star-studded production is lavish in set and setting. Nicol Williamson’s intense portrayal of Hamlet is a far cry from that of Mel Gibson’s Hollywood-esque revenger. But together, these films, and other daring productions like them, demonstrated the actability of the first quarto of Hamlet as a performance text thereby helping to change its status among textual scholars as well, prompting them to reevaluate the 1603 quarto.
  • Thumbnail Image
    Item
    “Here Lay My Hope": attribution, collaboration, and the authorship of the third addition to The Spanish Tragedy
    (2016-09-06) Cooper, Keegan; Bourus, Terri
    The authorship of the five additions to Thomas Kyd’s The Spanish Tragedy remains a conundrum. Ben Jonson was first thought responsible, but a majority of scholars argue against his involvement. Other candidates have been proposed, namely Thomas Dekker, Thomas Heywood, William Shakespeare, and John Webster. Past attribution studies have mainly focused on Shakespeare due to the fourth addition, the Painter’s Scene, which has been perceived to exhibit Shakespearean quality. John Nance’s lexical study of the fourth addition makes a most compelling case: Shakespeare’s hand is almost certainly present. Warren Stevenson, Hugh Craig, Brian Vickers, and Douglas Bruster have also supported an attribution to Shakespeare; however, their research errs in assuming a single author wrote all five of the additions. This assumption is disproven by Gary Taylor’s work on the first addition, which is the first to identify Heywood, not Shakespeare, as its likely author. Taylor’s conclusion emphasizes that the additions could embody revisions by more than one playwright, such as in the case of Sir Thomas More. Therefore, the authorship of the other additions must remain conjectural until further study. My thesis is the first to independently explore the third addition’s authorship, and based on lexical evidence, the following analysis disproves claims of Shakespeare’s presence within the third addition.
  • Thumbnail Image
    Item
    The IUPUI-New Oxford Shakespeare Project
    (Office of the Vice Chancellor for Research, 2011-04-08) Bourus, Terri; Connor, Francis; Neville, Sarah
    The IUPUI-New Oxford Shakespeare Project (NOS) combines linguistic, musical, visual, and kinetic arts to create the first multiplatform, multi-format, multimedia scholarly edition of William Shakespeare’s complete works. The NOS brings together the world’s leading Shakespeare scholars from three universities on two continents to create a vital resource for future generations of Shakespeare, dramatic, literary, music, film, and linguistic scholars. IUPUI English Drama professor Terri Bourus, one of the edition’s general editors, brings her theatrical experience to bear on the edition, making this the first edition of Shakespeare to emphasize Shakespeare’s plays as performed texts. As part of its focus on performance, the digital edition will include original music from the plays and filmed performances, as well as the complete texts and reproductions of Shakespeare’s early books. The completed five-volume edition will give teachers, students, theatre practitioners, and lovers of Shakespeare, drama, and history a more authentic Renaissance experience of Shakespeare as a collaborative genius whose work is something to hear, see, feel, and do. This is all happening right here—on the IUPUI campus— bringing one of the world’s most exciting and cutting-edge research projects to Indianapolis and making a unique and high-profile contribution to the Chancellor’s vision of creating Global IMPACT!
  • Thumbnail Image
    Item
    "Minds will grow perplexed": The Labyrinthine Short Fiction of Steven Millhauser
    (2014-02-25) Andrews, Chad Michael; Rebein, Robert, 1964-; Eller, Jonathan R., 1952-; Bourus, Terri
    Steven Millhauser has been recognized for his abilities as both a novelist and a writer of short fiction. Yet, he has evaded definitive categorization because his fiction does not fit into any one category. Millhauser’s fiction has defied clean categorization specifically because of his regular oscillation between the modes of realism and fantasy. Much of Millhauser’s short fiction contains images of labyrinths: wandering narratives that appear to split off or come to a dead end, massive structures of branching, winding paths and complex mysteries that are as deep and impenetrable as the labyrinth itself. This project aims to specifically explore the presence of labyrinthine elements throughout Steven Millhauser’s short fiction. Millhauser’s labyrinths are either described spatially and/or suggested in his narrative form; they are, in other words, spatial and/or discursive. Millhauser’s spatial labyrinths (which I refer to as ‘architecture’ stories) involve the lengthy description of some immense or underground structure. The structures are fantastic in their size and often seem infinite in scale. These labyrinths are quite literal. Millhauser’s discursive labyrinths demonstrate the labyrinthine primarily through a forking, branching and repetitive narrative form. Millhauser’s use of the labyrinth is at once the same and different than preceding generations of short fiction. Postmodern short fiction in the 1960’s and 70’s used labyrinthine elements to draw the reader’s attention to the story’s textuality. Millhauser, too, writes in the experimental/fantastic mode, but to different ends. The devices of metafiction and realism are employed in his short fiction as agents of investigating and expressing two competing visions of reality. Using the ‘tricks’ and techniques of postmodern metafiction in tandem with realistic detail, Steven Millhauser’s labyrinthine fiction adjusts and reapplies the experimental short story to new ends: real-world applications and thematic expression.
  • Thumbnail Image
    Item
    The New Oxford Shakespeare Project at IUPUI
    (Office of the Vice Chancellor for Research, 2016-04-08) Bourus, Terri; Loughnane, Rory; Pruitt, Anna; Andrews, Chad; Cooper, Keegan
    Because Shakespeare is the world’s most canonical and most commercially successful secular author, his works have been edited more than any other author. Editions of Shakespeare’s canon are usually based on commercial incentives rather than scholarly preparation; as a result, most editions re-package older ones and do not strive to rethink previous editing in light of more recent scholarship about the Shakespeare canon. The New Oxford Shakespeare editors, staff, and student assistants, however, are revisiting and rethinking the Shakespeare canon from the ground up. Due for publication in October 2016, this exciting new edition of Shakespeare’s Complete Works features the collaborative efforts of an international team of scholars, editors, and IUPUI faculty and students – working alongside each other over a seven year term on IUPUI’s campus. The research involved in this project is cutting edge and completely new to the discipline. We work from archived original printed texts (no manuscript in Shakespeare’s hand exists), and because we are creating the first multi-format, multi-platform Shakespeare edition in history, we approach the work from a three-tiered paradigm, including pedagogy, theatre practice, and computational stylistics. The completed five-volume edition will give readers deeper and multifaceted access to all of Shakespeare’s works: the traditional canon, alternative texts, and collaborative texts. Aiming to satisfy the needs of different users, an old spelling edition will preserve spelling, punctuation, and layout of the earliest texts while a Modern Spelling Edition will utilize recent pedagogical innovations to serve as a 21st century classroom text. The New Oxford Shakespeare will make Shakespeare more accessible to 21st century readers by engaging them through multiple editions and multiple types of media. The New Oxford Shakespeare will empower teacher-scholars to demonstrate Shakespeare’s work in performance and in process. We are the new face of Shakespeare.
  • Thumbnail Image
    Item
    The New Oxford Shakespeare Project at IUPUI
    (Office of the Vice Chancellor for Research, 2014-04-11) Taylor, Gary; Bourus, Terri
    William Shakespeare is the most influential writer in the English language. Oxford University Press is long established as the most authoritative publisher of critical editions of literary texts. In 1986-7, a team led by Stanley Wells and Gary Taylor produced a groundbreaking new edition of the Complete Works. This was the first edition of Shakespeare ever to publish edited texts of the Complete Works in both modern and original spelling, and to provide a complete discursive textual apparatus. Now, over 25 years later, an inter-generational team of leading scholars, adopting the latest advances in editorial theory and the history of text technologies, is producing a wholly new edition of the plays and poems of William Shakespeare. This edition will be the standard-bearer for future generations of scholars, teachers, readers and performers. Although the New Oxford Shakespeare has an international team of contributors and advisors, its heart and home is in downtown Indianapolis. Additionally, the New Oxford Shakespeare project is the first edition to include an Equity actor, IUPUI English Drama Professor Terri Bourus, among its general editors. Our primary goal at the New Oxford Shakespeare Center is to achieve a global and singular standard of excellence in our research, publications, and dramatic performances. Because our project combines ground-breaking scholarship with high quality public performances of Shakespeare's works, we have a unique opportunity to create a dynamic impact in Indianapolis and its surrounding communities, while simultaneously elevating the visibility and prestige of IUPUI on the worldwide stage.
  • Thumbnail Image
    Item
    Romeo and Juliet (Theater Review)
    (John Hopkins University Press[BREAK]COPYRIGHT © 2005 Shakespeare Bulletin. The definitive version of the article is available at: [LINK] http://www.press.jhu.edu/journals/shakespeare_bulletin/[/LINK] [BREAK] Access to the original article may require subscription and authorized logon ID/password. IUPUI faculty/staff/students, please check University Library resources before purchasing an article via the publisher. Questions on finding the original article via our databases? Ask a librarian: [LINK] http://www.ulib.iupui.edu/research/askalibrarian[/LINK]., 2005) Bourus, Terri
    Presented by the Chicago Shakespeare Theater on Navy Pier, Chicago, Illinois. April 2-June 19, 2005. Directed by Mark Lamos.
  • Thumbnail Image
    Item
    Shakespeare and the London Publishing Environment: The Publisher and Prnters of Q1 and Q2 Hamlet
    (Northern Illinois University, Dept. of English, 2001) Bourus, Terri
    The Worshipful Company of Stationers was the sole provider of books printed in England from its royal charter granted by Mary I on 4 May 1557 until the copyright acts of Anne in 1708-09. It controlled copyright through the entry of approved manuscripts; it printed the books; it vended the books; and it regulated its members' conduct of business. Since the Stationer's Company was also a craft/trade guild, much like the Butchers, Goldsmiths, Merchant Taylors, Cordwainers, and the like, it not only had commercial interests but fraternal ones as well. Odd as it may seem today, these companies were concerned with both the advancement of profit of entrepreneurs and working conditions of employees, all of whom were freemen of the company.