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Papers by Edward B . M . Rendall

The Year's Work in English Studies

This chapter has four sections: 1. Editions and Textual Studies; 2. Shakespeare in the Theatre; 3... more This chapter has four sections: 1. Editions and Textual Studies; 2. Shakespeare in the Theatre; 3. Shakespeare on Screen; 4. Criticism. Section 1 is by Edward B.M. Rendall; section 2 is by Peter J. Smith; section 3 is by Elinor Parsons; section 4(a) is by Chloe Fairbanks; section 4(b) is by Emanuel Stelzer; section 4(c) is by Shirley Bell; section 4(d) is by Ben Haworth; section 4(e) is by Vanessa Lim; section 4(f) is by Sheilagh Ilona O’Brien; section 4(g) is by Luca Baratta.

Journal of Early Modern Studies, 2020

The article analyses the connection between seventeenth-century English needlework, drama, and pl... more The article analyses the connection between seventeenth-century English needlework, drama, and plague. Frog pouches-needleworked, perfumed sweet bags used to repel the miasmatic spread of plague-reveal wider attitudes about foreign landscapes in seventeenth-century London and England more generally. This article, then, uses the works of Shakespeare, Jonson, and other playwrights and authors of the period, as well as the materials of frog pouches themselves, to explore the exoticism and accessibility of those environments that frogs inhabit. Foreign animals that lived far from English shores, the article argues, thus provided the scents for pouches. The animals that these pouches mimic reveal a reverence for the rural landscape closer to home but just as unknown.

The Year's Work in English Studies, 2021

Literature, 2022

This article shows how temporal disorder diffuses into the wildernesses within early modern Engli... more This article shows how temporal disorder diffuses into the wildernesses within early modern English drama. Those areas beyond the walls of cities and castles in—among other plays—The Two Gentlemen of Verona, Titus Andronicus, Romeo and Juliet, and Macbeth thus flit free from the temporal rules that construct a play’s quotidian world, and the conspicuous partitions that enclose an otherworld in medieval iconography no longer seem clear within them. I argue that these spaces enact an unfamiliar and chaotic ‘otherworld’ within quotidian space, and characters’ ventures into these outer regions at certain points resemble movements into an ‘afterlife’. Journeys into a wilderness, then, parallel a shift from one temporal sphere to another, and characters encounter a post-death state of being within the play’s present.

The Journal of Early Modern Studies, 2021

The article analyses the connection between seventeenth-century English needlework, drama, and pl... more The article analyses the connection between seventeenth-century English needlework, drama, and plague. Frog pouches-needleworked, perfumed sweet bags used to repel the miasmatic spread of plague-reveal wider attitudes about foreign landscapes in seventeenth-century London and England more generally. This article, then, uses the works of Shakespeare, Jonson, and other playwrights and authors of the period, as well as the materials of frog pouches themselves, to explore the exoticism and accessibility of those environments that frogs inhabit. Foreign animals that lived far from English shores, the article argues, thus provided the scents for pouches. The animals that these pouches mimic reveal a reverence for the rural landscape closer to home but just as unknown.

The Year's Work in English Studies, 2021

This chapter has four sections: 1. Editions and Textual Studies; 2. Shakespeare in the Theatre; 3... more This chapter has four sections: 1. Editions and Textual Studies; 2. Shakespeare in the Theatre; 3. Shakespeare on Screen; 4. Criticism. Section 1 is by Edward B.M. Rendall; section 2 is by Peter J. Smith; section 3 is by Elinor Parsons; section 4(a) is by Elisabetta Tarantino; section 4(b) is by Emanuel Stelzer; section 4(c) is by Shirley Bell; section 4(d) is by Ben Haworth; section 4(e) is by Vanessa Lim; section 4(f) is by Sheilagh Ilona O'Brien; section 4(g) is by Kate Wilkinson.

The Year's Work in English Studies

This chapter has four sections: 1. Editions and Textual Studies; 2. Shakespeare in the Theatre; 3... more This chapter has four sections: 1. Editions and Textual Studies; 2. Shakespeare in the Theatre; 3. Shakespeare on Screen; 4. Criticism. Section 1 is by Edward B.M. Rendall; section 2 is by Peter J. Smith; section 3 is by Elinor Parsons; section 4(a) is by Chloe Fairbanks; section 4(b) is by Emanuel Stelzer; section 4(c) is by Shirley Bell; section 4(d) is by Ben Haworth; section 4(e) is by Vanessa Lim; section 4(f) is by Sheilagh Ilona O’Brien; section 4(g) is by Luca Baratta.

Journal of Early Modern Studies, 2020

The article analyses the connection between seventeenth-century English needlework, drama, and pl... more The article analyses the connection between seventeenth-century English needlework, drama, and plague. Frog pouches-needleworked, perfumed sweet bags used to repel the miasmatic spread of plague-reveal wider attitudes about foreign landscapes in seventeenth-century London and England more generally. This article, then, uses the works of Shakespeare, Jonson, and other playwrights and authors of the period, as well as the materials of frog pouches themselves, to explore the exoticism and accessibility of those environments that frogs inhabit. Foreign animals that lived far from English shores, the article argues, thus provided the scents for pouches. The animals that these pouches mimic reveal a reverence for the rural landscape closer to home but just as unknown.

The Year's Work in English Studies, 2021

Literature, 2022

This article shows how temporal disorder diffuses into the wildernesses within early modern Engli... more This article shows how temporal disorder diffuses into the wildernesses within early modern English drama. Those areas beyond the walls of cities and castles in—among other plays—The Two Gentlemen of Verona, Titus Andronicus, Romeo and Juliet, and Macbeth thus flit free from the temporal rules that construct a play’s quotidian world, and the conspicuous partitions that enclose an otherworld in medieval iconography no longer seem clear within them. I argue that these spaces enact an unfamiliar and chaotic ‘otherworld’ within quotidian space, and characters’ ventures into these outer regions at certain points resemble movements into an ‘afterlife’. Journeys into a wilderness, then, parallel a shift from one temporal sphere to another, and characters encounter a post-death state of being within the play’s present.

The Journal of Early Modern Studies, 2021

The article analyses the connection between seventeenth-century English needlework, drama, and pl... more The article analyses the connection between seventeenth-century English needlework, drama, and plague. Frog pouches-needleworked, perfumed sweet bags used to repel the miasmatic spread of plague-reveal wider attitudes about foreign landscapes in seventeenth-century London and England more generally. This article, then, uses the works of Shakespeare, Jonson, and other playwrights and authors of the period, as well as the materials of frog pouches themselves, to explore the exoticism and accessibility of those environments that frogs inhabit. Foreign animals that lived far from English shores, the article argues, thus provided the scents for pouches. The animals that these pouches mimic reveal a reverence for the rural landscape closer to home but just as unknown.

The Year's Work in English Studies, 2021

This chapter has four sections: 1. Editions and Textual Studies; 2. Shakespeare in the Theatre; 3... more This chapter has four sections: 1. Editions and Textual Studies; 2. Shakespeare in the Theatre; 3. Shakespeare on Screen; 4. Criticism. Section 1 is by Edward B.M. Rendall; section 2 is by Peter J. Smith; section 3 is by Elinor Parsons; section 4(a) is by Elisabetta Tarantino; section 4(b) is by Emanuel Stelzer; section 4(c) is by Shirley Bell; section 4(d) is by Ben Haworth; section 4(e) is by Vanessa Lim; section 4(f) is by Sheilagh Ilona O'Brien; section 4(g) is by Kate Wilkinson.