Gothic Renaissance
A reassessment
Edited by
ELISABETH BRONFEN
and BEATE NEUMEIER
Manchester University Press
Manchester and New York
distributed exclusively in the USA by Palgrave Macmillan
Copyright Manchester University Press 2014
While copyright in the volume as a whole is vested in Manchester University Press, copyright in individual chapters belongs to their respective authors, and no chapter may be reproduced wholly or in part without the express permission in writing of both author and publisher.
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First published 2014
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Contents
Introduction
Elisabeth Bronfen and Beate Neumeier
As editors of this volume we would like to thank all contributors for participating in the conference we organized at the University of Cologne to advance the dialogue between scholarship on the English Renaissance and on Gothic literature. We would also like to thank all of them not only for their prompt submission of manuscripts but also for their patience in regard to the long editorial and publication process.
We would like to thank the Cologne team, Friederike Danebrock, Victoria Herche, Konstanze Kutzbach, Natascha Rohde, Dirk Schulz, Bettina Seidel and in particular Leonhard Kreuzer and Tobias Schmidt for their extraordinary organizational skills, diligence and untiring work before, during and after the conference.
The time-consuming preparation of the manuscripts for print was carried out by Laura von Czarnowsky, Friederike Danebrock, Esther Dolas, Victoria Herche, Meral Karrasch, Johanna Schorn and Sarah Youssef. We would like to thank all of them for their impressive skills in the editing process, corresponding with contributors, proof-reading and checking sources. Our particular thanks go to Friederike Danebrock whose skills as co-ordinator, mediator and careful reader were invaluable for the finalization of the manuscript.
We would also like to thank the German Research Foundation (DFG), the KlnAlumni, and the University of Cologne for their generous material and non-material support.
Last but not least we would like to express our gratitude to Manchester University Press for accepting this volume for publication. Our particular thanks go to Matthew Frost for his invaluable guidance and support.
Zrich/Cologne
Summer 2013
Catherine Belsey is Research Professor in English at Swansea University. Her books include The Subject of Tragedy: Identity and Difference in Renaissance Drama, Shakespeare and the Loss of Eden, Why Shakespeare? and Shakespeare in Theory and Practice. Her latest book is A Future for Criticism.
Andrea Brady is Senior Lecturer at Queen Mary University of London, where she teaches both early modern and contemporary writing. She has published articles on ritual and anthropological approaches to literature, embodiment, affect, subjectivity and prosody. Her publications include English Funerary Elegy in the Seventeenth Century as well as five books of poetry. She is director of Archive of the Now and runs Barque Press.
Elisabeth Bronfen is Professor of English and American Studies at the English department, University of Zrich. She is the author of Over Her Dead Body: Death, Femininity and the Aesthetic; The Knotted Subject: Hysteria and Its Discontent; Home in Hollywood: The Imaginary Geography of Cinema; Specters of War: Hollywoods Engagement with Military Conflict and, most recently, Night Passages: Philosophy, Literature, and Film. She is currenctly co-writing a book with Barbara Straumann on Elizabeth I as the first political diva.
John Drakakis is Emeritus Professor of English Studies at the University of Stirling, and he holds visiting professorships at the University of Lincoln and Glyndwr University, Wrexham. He has recently published the Arden 3 Series edition of Shakespeares The Merchant of Venice (2012), and has jointly edited and contributed to Gothic Shakespeares and to the Arden Early Modern Drama Guides volume on Macbeth (2013). He has edited various collections of essays, including Alternative Shakespeares, Shakespearean Tragedy, Tragedy (jointly), and has contributed articles and reviews to various learned journals, and book chapters to a number of published essay collections. He was the general editor of the Routledge English Texts series, and he is currently the general editor of the Routledge New Critical Idiom Series. He is also the general editor in charge of the projected revision of Geoffrey Bulloughs Narrative and Dramatic Sources of Shakespeare and he is the editor of the Major Tragedies volume in this series. He is a Fellow of the English Association and an elected member of the Academia Europaea.
Andreas Hfele is Professor of English at Munich University. He is author of Stage, Stake, and Scaffold: Humans and Animals in Shakespeares Theatre, which won the 2012 Roland H. Bainton Prize for Literature. His publications in German include books on Shakespeares stagecraft, on late nineteenth-century parody and on Malcolm Lowry, as well as six novels. He served as President of the German Shakespeare Society 200211.
Lynn S. Meskill is Lecturer in English Literature and Translation at Universit Paris-Diderot, Paris 7. She holds a BA in Classics from Princeton University and MA and PhD degrees in English from the University of Virginia. She is author of Ben Jonson and Envy. She has published articles on Jonson, Shakespeare and Milton in Cahiers Elisabthains, ELH, HLQ and The Swiss Papers in Early Modern Language and Literature, among others. She is currently preparing Ben Jonsons Masques, 16051616 for The Oxford Handbook of Jonson Studies.
Beate Neumeier is Professor of English at the University of Cologne. Her research areas are gender, performance, and postcolonial studies. She has published on Renaissance and contemporary Anglophone drama, on contemporary Jewish writing, on postmodern womens writing, on gender and music in contemporary cultures, and with Kay Schaffer on indigenous literature and performance cultures in Australia. She is also the editor of the e-journal GenderForum and the database GenderInn. Currently she is writing a book on