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001			198452
003			IT-RoAPU
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008			220424t20112011pau fo d z eng d
019			_a(OCoLC)1013940886
019			_a(OCoLC)979756381
020			_a9780812242966 _qprint
020			_a9780812205770 _qPDF
024	7		_a10.9783/9780812205770 _2doi
035			_a(DE-B1597)9780812205770
035			_a(DE-B1597)449410
035			_a(OCoLC)794700700
040			_aDE-B1597 _beng _cDE-B1597 _erda
072		7	_aLIT015000 _2bisacsh
082	0	4	_a792.95094209031 _223
084			_aonline - DeGruyter
100	1		_aMarino, James J. _eautore
245	1	0	_aOwning William Shakespeare : _bThe King's Men and Their Intellectual Property / _cJames J. Marino.
264		1	_aPhiladelphia : _bUniversity of Pennsylvania Press, _c[2011]
264		4	_c©2011
300			_a1 online resource (216 p.) : _b10 illus.
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_atext file _bPDF _2rda
490	0		_aMaterial Texts
505	0	0	_tFrontmatter -- _tContents -- _tIntroduction -- _tChapter 1. Secondhand Repertory: The Fall and Rise of Master W. Shakespeare -- _tChapter 2. Sixty Years of Shrews -- _tChapter 3. Hamlet, Part by Part -- _tChapter 4. William Shakespeare's Sir John Oldcastle and the Globe's William Shakespeare -- _tChapter 5. Restorations and Glorious Revolutions -- _tNotes -- _tWorks Cited -- _tIndex -- _tAcknowledgments
506	0		_arestricted access _uhttp://purl.org/coar/access_right/c_16ec _fonline access with authorization _2star
520			_aCopyright is by no means the only device for asserting ownership of a work. Some writers, including playwrights in the early modern period, did not even view print copyright as the most important of their authorial rights. A rich vein of recent scholarship has examined the interaction between royal monopolies, which have been identified with later notions of intrinsic authorial ownership, and the internal copy registration practices of the English book trades. Yet this dialogue was but one part of a still more complicated conversation in early modern England, James J. Marino argues; other customs and other sets of professional demands were at least as important, most strikingly in the exercise of the performance rights of plays.In Owning William Shakespeare James Marino explores the actors' system of intellectual property as something fundamentally different from the property regimes exercised by the London printers or the royal monopolists. Focusing on Hamlet, The Taming of the Shrew, King Lear, and other works, he demonstrates how Shakespeare's acting company asserted ownership of its plays through intense rewriting combined with progressively insistent attribution to Shakespeare. The familiar versions of these plays were created through ongoing revision in the theater, a process that did not necessarily begin with Shakespeare's original manuscript or end when he died. An ascription by the company of any play to "Shakespeare" did not imply that it was following a fixed, authorial text; rather, Marino writes, it indicates an attempt to maintain exclusive control over a set of open-ended, theatrically revised scripts.Combining theater history, textual studies, and literary theory, Owning William Shakespeare rethinks both the way Shakespeare's plays were created and the way they came to be known as his. It overturns a century of scholarship aimed at re-creating the playwright's lost manuscripts, focusing instead on the way the plays continued to live and grow onstage.
530			_aIssued also in print.
538			_aMode of access: Internet via World Wide Web.
546			_aIn English.
588	0		_aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 24. Apr 2022)
650		0	_aIntellectual property _zEngland _xHistory _v16th century.
650		0	_aIntellectual property _zEngland _xHistory _x17th century.
650		0	_aIntellectual property _zEngland _xHistory _y16th century.
650		0	_aIntellectual property _zEngland _xHistory _y17th century.
650		0	_aRepertory theater _zEngland _vLondon _xHistory _v16th century.
650		0	_aRepertory theater _zEngland _vLondon _xHistory _x17th century.
650		0	_aRepertory theater _zEngland _zLondon _xHistory _y16th century.
650		0	_aRepertory theater _zEngland _zLondon _xHistory _y17th century.
650		0	_aTheatrical companies _zEngland _vLondon _xHistory _v16th century.
650		0	_aTheatrical companies _zEngland _vLondon _xHistory _x17th century.
650		0	_aTheatrical companies _zEngland _zLondon _xHistory _y16th century.
650		0	_aTheatrical companies _zEngland _zLondon _xHistory _y17th century.
650		0	_aTransmission of texts _zEngland _xHistory _v16th century.
650		0	_aTransmission of texts _zEngland _xHistory _x17th century.
650		0	_aTransmission of texts _zEngland _xHistory _y16th century.
650		0	_aTransmission of texts _zEngland _xHistory _y17th century.
650		4	_aMedieval and Renaissance Studies.
650		7	_aLITERARY CRITICISM / Shakespeare. _2bisacsh
653			_aCultural Studies.
653			_aLiterature.
653			_aMedieval and Renaissance Studies.
850			_aIT-RoAPU
856	4	0	_uhttps://doi.org/10.9783/9780812205770
856	4	0	_uhttps://www.degruyter.com/isbn/9780812205770
856	4	2	_3Cover _uhttps://www.degruyter.com/document/cover/isbn/9780812205770/original
942			_cEB
999			_c198452 _d198452