ShakespeareEdinburgh University Press, 2007 - 282 من الصفحات Edinburgh Critical Guides to Literature Series Editors: Martin Halliwell and Andy Mousley This series provides accessible yet provocative introductions to a wide range of literatures. The volumes will initiate and deepen the reader's understanding of key literary movements, periods and genres, and consider debates that inform the past, present and future of literary study. Resources such as glossaries of key terms and details of archives and internet sites are also provided, making each volume a comprehensive critical guide. Shakespeare (Edinburgh Critical Guides to Literature Series) Gabriel Egan This book helps the reader make sense of the most commonly studied writer in the world. It starts with a brief explanation of how Shakespeare's writings have come down to us as a series of scripts for actors in the early modern theatre industry of London. The main chapters of the book approach the texts through a series of questions: 'what's changed since Shakespeare's time?', 'to what uses has Shakespeare been put?', and 'what value is there in Shakespeare?' These questions go to the heart of why we study Shakespeare at all, which question the book encourages the readers to answer for themselves in relation to their own critical writing. Key Features * A chronology of Shakespeare's career as an actor/dramatist that locates him within the theatre industry of his time * New readings of twelve plays that form a core of the Shakespeare canon: A Midsummer Night's Dream, Much Ado About Nothing, Richard 2, Henry 5, Hamlet, Othello, All's Well that Ends Well, The Winter's Tale, Macbeth, Measure for Measure, The Tempest, and Timon of Athens * Critical analyses organized by genre (comedies, histories, tragedies, and romance) and by four key critical approaches: authorship, performance, identities, and materialism * An extensive resources section, including a glossary of the i |
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الصفحة 77
... lines ( Exeter and Gloucester's lines at 4.7.64–5 ) missing from the quarto and present in the Folio are not needed in performance and exist only to give the reader information that a theatre spectator would get with his eyes . If Gurr ...
... lines ( Exeter and Gloucester's lines at 4.7.64–5 ) missing from the quarto and present in the Folio are not needed in performance and exist only to give the reader information that a theatre spectator would get with his eyes . If Gurr ...
الصفحة 134
... lines are spoken by the king while the other actors are still on the stage , which is most unusual for epi- logues . It certainly is an epilogue : the references to the completion of the performance and the transformation of the king ...
... lines are spoken by the king while the other actors are still on the stage , which is most unusual for epi- logues . It certainly is an epilogue : the references to the completion of the performance and the transformation of the king ...
الصفحة 165
... lines ( about two to three minutes of stage time ) he makes his pro- posal again ( 5.1.534-6 ) . We have to wonder what Isabella makes of this repetition of the marriage proposal . We have to wonder , because Shakespeare simply does not ...
... lines ( about two to three minutes of stage time ) he makes his pro- posal again ( 5.1.534-6 ) . We have to wonder what Isabella makes of this repetition of the marriage proposal . We have to wonder , because Shakespeare simply does not ...
المحتوى
Introduction | 1 |
A Midsummer Nights Dream | 19 |
Richard 2 and Henry 5 | 46 |
حقوق النشر | |
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action actors appears argued audience authority Banquo begins Bertram Caliban called Camillo century Chapter characters Claudio comes concerned consider course critics culture door drama duke early earth Elizabethan English English Studies Enter Essays fact father follow ghost give gold Hamlet hand Helen Henry human ideas Isabella John kind king leaving Leontes lines live London look lord Macbeth Mariana marriage material matter means Measure Measure for Measure mind nature objects once Othello Oxford performance perhaps play political Polixenes present problem production Prospero question readers reading relation Richard scene seems seen sense sexual Shakespeare social society speak stage story supposed Tale tell Tempest theatre things thou thought Timon tion tragedy turn University University Press Winter's witches written young