The Grinnell Beowulf is a translation and teaching edition of the Old English poem. Six students at Grinnell College--Eva Dawson, Emily Johnson, Jeanette Miller, Logan Shearer, Aniela Wendt, and Kate Whitman, all '14--worked with Tim Arner, Associate Professor of English, to translate Beowulf into readable and poetic modern English. What started as a Mentored Advanced Project became an extended collaboration that resulted in the production of an edition designed for both first-time readers and advanced students. The Grinnell Beowulf includes over 165 annotations that accompany the text, as well as introductions to the poem and the translation process.

Beowulf is the most celebrated poem of the Anglo-Saxon era. It tells the story of a mighty warrior who defends his friends and homeland from lethal threats both human and monstrous. Beowulf's battles with Grendel, Grendel's mother, and an angry dragon are interwoven with scenes of feasts and feuds that provide a view of Scandinavian cultural practices and historical traditions. Though the poem had been absent from the English literary tradition for centuries, Beowulf has become a canonical text in high school and college English courses, thanks in part to J.R.R. Tolkien's study of the poem and his use of it as a source for The Hobbit and The Lord of the Rings trilogy

This is the 2016 paperback printing of the 2008 edition of the popular text, translation, and commentary by S. A. Farmer. (The 2008 edition was a revised edition of the 1998 original publication).

Published by ACMRS (Arizona Center for Medieval and Renaissance Studies) in Tempe, Arizona as part of the MRTS (Medieval and Renaissance Texts and Studies) Series, this book -- previously available only in hardcover and otherwise out-of-print since 2014 -- is now available in its entirety in paperback format.

The Kinky Renaissance is a groundbreaking collection of essays that explore kink as a theoretical analytic, a historical formation, and an aesthetic mode. The essays in this work expand the sexual archive and its lexicon by introducing new vocabularies to familiar sexual scenes in early modern literature and culture and by bringing lesser-known scenes to bear on the study of sexuality in the period. Providing a capacious theory of sexuality and historical precedents for contemporary kinky practices, The Kinky Renaissance explores the erotic potential of early modern literature and pauses over various kinks nestled between and beside them. The collection boldly argues for a broader concept of a kinky Renaissance--one which reorients the terms of both the history of sexuality and queer theory more broadly.

For decades, Chicanx and Indigenous theater-makers have worked to repurpose the plays of William Shakespeare to reflect the histories and lived realities of the United States-Mexico Borderlands, or La Frontera. Celebrating this rich tradition, The Bard in the Borderlands brings a wide range of Borderlands Shakespeare plays together for the first time in a multi-volume, open-access scholarly edition, creating space to tell stories of and for this complex and important region.

This second volume continues to celebrate the dynamic, multilingual reworking of canon and place that defines Borderlands Shakespeare, situating geographically and temporally diverse plays within the robust study of Shakespeare's global afterlives.

In her modern translation of Cymbeline, Andrea Thome takes up one of Shakespeare's most complex plays. Thome's update brings the play's language into the present, highlighting new resonances and providing a more accessible version of Shakespeare's play for today's audiences. One of Shakespeare's final plays, Cymbeline tells the story of the British king Cymbeline and his daughter, Imogen. It is a tale of deceit and jealousy, with accusations of infidelity that often draw comparisons to Othello and The Winter's Tale.

This translation of Cymbeline was written as part of the Oregon Shakespeare Festival's Play On! project, which commissioned new translations of thirty-nine Shakespeare plays. These translations present the work of The Bard in language accessible to modern audiences while never losing the beauty of Shakespeare's verse. Enlisting the talents of a diverse group of contemporary playwrights, screenwriters, and dramaturges from diverse backgrounds, this project reenvisions Shakespeare for the twenty-first century. These volumes make these works available for the first time in print--a new First Folio for a new era.

Virginia Grise takes on one of Shakespeare's lesser-known plays in her translation of All's Well That Ends Well. It is a play that has challenged actors, directors, and audiences for four-hundred years, and in this edition, Grise updates Shakespeare's language for modern ears.

This translation was written as part of the Oregon Shakespeare Festival's Play On! project, which commissioned new translations of thirty-nine Shakespeare plays. These translations present the work of The Bard in language accessible to modern audiences while never losing the beauty of Shakespeare's verse. These volumes make these works available for the first time in print--a new First Folio for a new era.

For several decades, Chicanx and Indigenous theatermakers have been repurposing Shakespeare's plays to reflect the histories and lived realities of the US-Mexico Borderlands and to create space to tell stories of and for La Frontera. Celebrating this rich tradition, The Bard in the Borderlands: An Anthology of Shakespeare Appropriations en La Frontera brings a wide range of Borderlands Shakespeare plays together for the first time in a multi-volume open-access scholarly edition.

This anthology celebrates the dynamic, multilingual reworking of canon and place that defines Borderlands Shakespeare, and it situates these geographically and temporally diverse plays within the robust study of Shakespeare's global afterlives. The editors offer a critical framework for understanding the artistic and political traditions that shape these plays and the place of Shakespeare within the multilayered colonial histories of the region. Borderlands Shakespeare plays, they contend, do not simply reproduce Shakespeare in new contexts but rather use his work in innovative ways to negotiate colonial power and to envision socially just futures.

This edition of Exchequer cases from 1685 to 1714 includes all of the Exchequer reports, both in print and in manuscript, known to date from this period. These consolidated reports are presented chronologically according to the modern method of presenting cases.

The capacious visual archive studied in this volume includes a trove of materials such as annotated or illuminated manuscripts, Renaissance costume books and travel books, maps and cartographic volumes produced by Europeans as well as Indigenous peoples, mass-printed pamphlets, jewelry, decorative arts, religious iconography, paintings from around the world, ceremonial objects, festival books, and play texts intended for live performance.

Contributors explore the deployment of what coeditor Noémie Ndiaye calls the racial matrix and its interconnected paradigms across the medieval and early modern chronological divide and across vast transnational and multilingual geographies. This volume uses items from the Fall 2023 exhibition Seeing Race Before Race--a collaboration between RaceB4Race and the Newberry Library--as a starting point for an ambitious theoretical conversation between premodern race studies, art history, performance studies, book history, and critical race theory.

This edition of Chancery cases from 1625 to 1660 includes all Chancery reports, both in print and manuscript, known to date from this period. These consolidated reports are presented chronologically according to the modern case presentation method.

In Migdalia Cruz's Macbeth, the Witches run the world. The Macbeths live out a dark cautionary tale of love, greed, and power, falling from glory into calamity as the Witches spin their fate. Translating Shakespeare's language for a modern audience, Nuyorican playwright Migdalia Cruz rewrites Macbeth with all the passion of the Bronx.

This translation of Macbeth was presented in 2018 as part of the Play On Shakespeare project, an ambitious undertaking from the Oregon Shakespeare Festival that commissioned new translations of 39 Shakespeare plays. These translations present the Bard's work in language accessible to modern audiences while never losing the beauty of Shakespeare's verse. Enlisting the talents of a diverse group of contemporary playwrights, screenwriters, and dramaturges from diverse backgrounds, this project reenvisions Shakespeare for the twenty-first century. These volumes make these works available for the first time in print--a new First Folio for a new era.

The Kinky Renaissance is a groundbreaking collection of essays that explore kink as a theoretical analytic, a historical formation, and an aesthetic mode. The essays in this work expand the sexual archive and its lexicon by introducing new vocabularies to familiar sexual scenes in early modern literature and culture and by bringing lesser-known scenes to bear on the study of sexuality in the period. Providing a capacious theory of sexuality and historical precedents for contemporary kinky practices, The Kinky Renaissance explores the erotic potential of early modern literature and pauses over various kinks nestled between and beside them. The collection boldly argues for a broader concept of a kinky Renaissance--one which reorients the terms of both the history of sexuality and queer theory more broadly.

Lovers of Shakespeare's language take heart: Lisa Peterson's translation of Hamlet into contemporary American English was guided by the principle of First, do no harm. Leaving the most famous parts of Hamlet untouched, Peterson untied the language knots that can make the rest of the play difficult to understand in a single theatrical viewing. Peterson's translation makes Hamlet accessible to new audiences, drawing out its timeless themes while helping to contextualize To be, or not to be: that is the question, and Something is rotten in the state of Denmark, so that contemporary audiences can feel their full weight.

This translation of Hamlet was written as part of the Oregon Shakespeare Festival's Play On! project, which commissioned new translations of thirty-nine Shakespeare plays. These translations present work from The Bard in language accessible to modern audiences while never losing the beauty of Shakespeare's verse. Enlisting the talents of a diverse group of contemporary playwrights, screenwriters, and dramaturges from diverse backgrounds, this project reenvisions Shakespeare for the twenty-first century. These volumes make these works available for the first time in print--a new First Folio for a new era.

Shakespeare's Henry V is a play about nationalism, war, and how we remember history. Known for its rousing speeches and miraculous outcomes, the play has long had a life beyond the stage and page, its themes and rhetoric common points of reference in politics. In this modern translation of Henry V, Lloyd Suh has created a new interpretation that is distinctly his own while protecting the mystery of Shakespeare's drama. Suh's translation focuses on the actors and the staging, channeling the theatrical nature of Shakespeare's play for a new audience.

This translation of Henry V was written as part of the Oregon Shakespeare Festival's Play On project, which commissioned new translations of thirty-nine Shakespeare plays. These translations present the Bard's work in language accessible to modern audiences while never losing the beauty of Shakespeare's verse. Enlisting the talents of a diverse group of contemporary playwrights, screenwriters, and dramaturges from diverse backgrounds, this project reenvisions Shakespeare for the twenty-first century. These volumes make these works available for the first time in print--a new First Folio for a new era.

In his three Henry VI plays, Shakespeare tackles the infamous Wars of the Roses and the fall of the House of Lancaster. In this translation of Henry VI, Part 1, Douglas Langworthy explores the initial unrest as a young Henry VI becomes king. Langworthy's translation takes a deep dive into the language of Shakespeare. With a fine-tooth comb, he updates passages that are archaic and difficult to the modern ear and matches them with the syntax and lyricism of the rest of the play, essentially translating archaic Shakespeare to match contemporary Shakespeare.

This translation of Henry VI, Part 1 was written as part of the Oregon Shakespeare Festival's Play On! project, which commissioned new translations of thirty-nine Shakespeare plays. These translations present the work of The Bard in language accessible to modern audiences while never losing the beauty of Shakespeare's verse. Enlisting the talents of a diverse group of contemporary playwrights, screenwriters, and dramaturges from diverse backgrounds, this project reenvisions Shakespeare for the twenty-first century. These volumes make these works available for the first time in print--a new First Folio for a new era.

Never performed in Shakespeare's lifetime, Timon of Athens presents an intriguing puzzle for contemporary audiences. The disjointed plot and many gaps in the story have led scholars to believe it was a collaboration between Shakespeare and Thomas Middleton, a younger writer known for his satires, and productions for decades have faced choices about the most effective way to present the play. In this translation, Cavander acts as a third playwright in this collaborative process. Wrangling the voices of Shakespeare and Middleton on the page, Cavander unveils poetic lines and phrases that have sat stubbornly in the cobwebs, cutting these voices through the time barrier and into the world as we know it.

This translation was written as part of the Oregon Shakespeare Festival's Play On project, which commissioned new translations of thirty-nine Shakespeare plays. These translations present the work of The Bard in language accessible to modern audiences while never losing the beauty of Shakespeare's verse. These volumes make these works available for the first time in print--a new First Folio for a new era.

Nuyorican playwright Migdalia Cruz unpacks and repositions Shakespeare's Richard III for a twenty-first-century audience. She presents a contemporary English verse translation, faithfully keeping the poetry, the puns, and the politics of the play intact, with a rigorous and in-depth examination of Richard III--the man, the king, the outsider--who is still the only English king to have died in battle. In the Wars of the Roses, his Catholic belief in his country led to his slaughter at Bosworth's Field by his Protestant rivals. In reimagining this text, Cruz emphasizes Richard III's outsider status--exacerbated by his severe scoliosis, which twisted his spine--by punctuating the text with punk music from 1970s London. Cruz's Richard is no one's fool or lackey. He is a new kind of monarch, whose dark sense of humor and deep sense of purpose leads his charge against the society which never fully accepted him because he looked different.

This translation was written as part of the Oregon Shakespeare Festival's Play On project, which commissioned new translations of thirty-nine Shakespeare plays. These translations present the work of The Bard in language accessible to modern audiences while never losing the beauty of Shakespeare's verse. These volumes make these works available for the first time in print--a new First Folio for a new era.