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Books made men: Early modern drama ...

Marino, James Joseph.

Books made men: Early modern drama and the fictions of intellectual property (William Shakespeare, Christopher Marlowe, Robert Greene).

Record Type:	Electronic resources : Monograph/item
Title/Author:	Books made men: Early modern drama and the fictions of intellectual property (William Shakespeare, Christopher Marlowe, Robert Greene).
Author:	Marino, James Joseph.
Description:	381 p.
Notes:	Adviser: Stephen K. Orgel.
Notes:	Source: Dissertation Abstracts International, Volume: 65-09, Section: A, page: 3399.
Contained By:	Dissertation Abstracts International65-09A.
Subject:	Literature, English.
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3145617
ISBN:	0496045865

Books made men: Early modern drama and the fictions of intellectual property (William Shakespeare, Christopher Marlowe, Robert Greene).
Marino, James Joseph.

Books made men: Early modern drama and the fictions of intellectual property (William Shakespeare, Christopher Marlowe, Robert Greene). - 381 p.

Adviser: Stephen K. Orgel.

Thesis (Ph.D.)--Stanford University, 2004.

Elizabethan and Jacobean actors evolved their own model of intellectual property, distinct from the London printers' copyright practices, and disputes between publishers and theatrical proprietors shaped the ways that early modern dramatic texts were revised, published, attributed to authors, and organized into a nascent canon. The issue was not merely who owned any particular work, but what constituted a dramatic "work" in the first place. The publishers looked at several distantly related scripts and saw a unified property; the actors saw a body of closely intertwined texts and argued for their plurality. Relics of old battles between the print and the performance models of ownership can still be unearthed in our own intellectual property traditions, in our critical narratives about early modern drama, and in the texts of the plays themselves.

ISBN: 0496045865Subjects--Topical Terms:

212435
Literature, English.

Books made men: Early modern drama and the fictions of intellectual property (William Shakespeare, Christopher Marlowe, Robert Greene).
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245 1 0 $a Books made men: Early modern drama and the fictions of intellectual property (William Shakespeare, Christopher Marlowe, Robert Greene).
300 $a 381 p.
500 $a Adviser: Stephen K. Orgel.
500 $a Source: Dissertation Abstracts International, Volume: 65-09, Section: A, page: 3399.
502 $a Thesis (Ph.D.)--Stanford University, 2004.
520 # $a Elizabethan and Jacobean actors evolved their own model of intellectual property, distinct from the London printers' copyright practices, and disputes between publishers and theatrical proprietors shaped the ways that early modern dramatic texts were revised, published, attributed to authors, and organized into a nascent canon. The issue was not merely who owned any particular work, but what constituted a dramatic "work" in the first place. The publishers looked at several distantly related scripts and saw a unified property; the actors saw a body of closely intertwined texts and argued for their plurality. Relics of old battles between the print and the performance models of ownership can still be unearthed in our own intellectual property traditions, in our critical narratives about early modern drama, and in the texts of the plays themselves.
520 # $a The first chapter considers Sir John Oldcastle, a play whose attribution to Shakespeare in 1619 has widely been considered a fraud, but whose printers genuinely feared the claims Shakespeare's partners might lay upon their text. What seems to us a deception or a mistake in fact reveals an early modern understanding of what a play was. The second chapter explores the reorganization of London's playing companies in 1594, and the accompanying flood of commercial drama into the printing houses, the posthumous figurations of the Robert Greene and Christopher Marlowe as prototypes of the public playwright, and the special challenges to Shakespeare's newly formed company, with its inventory of secondhand drama. The third chapter investigates one play from that inventory, Hamlet, in detail, finding in its varying texts some of the specific commercial pressures and the peculiar revision techniques of the Elizabethan playhouse. In a relatively brief coda, I conclude with the dissolution of the playing companies and the demise of their intellectual property customs, culminating in the redistribution of Elizabethan and Jacobean plays to new Restoration owners and the entry of pre-Civil War plays into a limited public domain.
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