ABSTRACT
Recent Shakespearean scholarship has been much preoccupied with the fascinating business of editing. Once famously dismissed by Alexander Pope, the “dull duty of an editor” has become among the liveliest scenes in early modern studies, bringing together a social and material interest in what is called “print culture” (from printing houses to title pages to the London book trade) and the history of the book, with a persistent interest in “textuality,” the language of the plays. New or renewed emphasis has been placed upon collaboration in writing and staging, and on the role of the theatrical company and the audience in shaping and reshaping play texts.
