in Making and unmaking in early modern English drama


Many people have helped me in the making of this book. My first thanks are to Leah Scragg, Suzanne B. Butters and Naomi Baker. Their long-standing support and enthusiasm for my work made it possible for me to write this book. I am also extremely grateful to Catherine Richardson, Jerome De Groot and Jacqueline Pearson for their invaluable advice in the early stages of planning and writing the book. I am deeply indebted to the anonymous readers who looked at the initial book proposal, and especially to the reader who offered incisive, rigorous and detailed comments on an earlier draft of the manuscript. Huge thanks to Naomi Baker, Paul Harvey and Charlie Porter for reading and commenting on the manuscript as it neared completion. I’m also very grateful to a number of friends and colleagues including Carolyn Broomhead, Hannah Coles, Hannah Crawforth, Andrew Frayn, Florence Grant, Gavin Grindon, Margaret Harvey, Andy Kesson, Sonia Massai, Lucy Munro, Gordon McMullan, Ann Thompson and J. T. Welsch. In the very late stages of writing this book I joined the University of Sussex, and would like to thank Matthew Dimmock, Andrew Hadfield, Margaret Healy and Tom Healy for their help and support. Thank you also to Manchester University Press for seeing the book to publication.

My greatest thanks are to my family: Sarah, Sophie, Charlie and especially my parents. My mum and dad have supported my research in every way possible, and I have loved talking about ‘making and unmaking’ with them. Finally, much love and thanks to Paul.

Making and unmaking in early modern English drama

Spectators, aesthetics and encompletion


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