READING LIST for IED 366 SHAKESPEARE

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READING LIST for IED 366 SHAKESPEARE Shakespeare’s Plays: Comedies: The Two Gentlemen of Verona The Comedy of Errors The Taming of the Shrew A Midsummer Night’s Dream Twelfth Night As You Like It History Plays: Richard III Richard II Tragedies: Romeo and Juliet Hamlet Othello Macbeth King Lear Problem Plays: The Merchant of Venice Troilus and Cressida Measure for Measure Romances: A Winter’s Tale The Tempest Criticism on Shakespeare, TheElizabethan Theatre, Modern Approaches and Interpretations: Stanley Wells Shakespeare: A Dramatic Life Sinclair and Stevenson, London, 1997. Stanley Wells Shakespeare: The Writer and His Work Longman, Essex, 1978. E.M.Tillyard The Elizabethan World Picture London, 1943. Andrew Gurr The Shakespearian Stage 1571-1642 Cambridge, 1970. J. Styan Shakespeare’s Stagecraft Cambridge, 1967. Leslie Hotson Shakespeare’s Wooden O London, 1959. Walter Hodges The Globe Restored Oxford, 1968. Emrys Jones Scenic Form in Shakespeare Oxford , 1971. Wolfgang Clemen Shakespeare’s Dramatic Art London, 1972. Alexander Leggatt Shakespeare’s Comedy of Love London, 1974. Bradbury and Palmer Shakespearian Comedy Stratford-upon-Avon Studies 14, 1972. Gary Walker Shakespeare’s Comedies Longman, London, 1991. Barbara Freedman Staging the Gaze: Postmodernism, Psychoanalysis and Shakespearean Comedy Cornell UP, London, 1991. A.C.Bradley Shakespearean Tragedy London, 1904. John Drakakis Shakespearean Tragedy Longman, London, 1992. Garner and Sprengnether Shakespearean Tragedy and Gender Indiana UP,1996 Lilly Campbell Shakespeare’s Tragic Heroes: Slaves of Passion Cambridge, 1930. Ernest Jones Hamlet and Oedipus London, 1949. Norman Holland Psychoanalysis and Shakespeare Peter Alexander Hamlet, Father and Son Oxford, 1955. Nigel Alexander Poison, Play and Duel London, 1971. Theodore Lidz Hamlet’s Enemy: Madness and Myth in Hamlet Int. UP, 1990. Caroline Spurgeon Shakespeare’s Imagery Jan Kott Shakespeare Our Contemporary Richard Wilson and Richard Dutton New Historicism and Renaissance Drama 1992. Jacques Lacan Ecrits: A Selection Oxon, Routledge, 2001. .

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PDF Download Hamlet: the Texts of 1603 and 1623 Ebook
HAMLET: THE TEXTS OF 1603 AND 1623 PDF, EPUB, EBOOK William Shakespeare,Ann Thompson,Neil Taylor | 384 pages | 31 May 2007 | Bloomsbury Publishing PLC | 9781904271802 | English | London, United Kingdom Hamlet: The Texts of 1603 and 1623 PDF Book The New Cambridge, prepared by Philip Edwards, also conflated while using the Folio as its base text. It looks like you are located in Australia or New Zealand Close. For your intent In going back to school in Wittenberg, It is most retrograde to our desire, And we beseech you bend you to remain Here in the cheer and comfort of our eye, Our chiefest courtier, cousin, and our son. An innnovative and stimulating contribution. On approval, you will either be sent the print copy of the book, or you will receive a further email containing the link to allow you to download your eBook. This wonderful ternion gives the serious students of Hamlet everything they need to delve deeply into the Dane. You can unsubscribe from newsletters at any time by clicking the unsubscribe link in any newsletter. A beautiful, unmarked, tight copy. By using our website you consent to all cookies in accordance with our Cookie Policy. Password Forgot Password? What says Polonius? While Jonson and other writers labored over their plays, Shakespeare seems to have had the ability to turn out work of exceptionally high caliber at an amazing speed. Gerald D. May show signs of minor shelf wear and contain limited notes and highlighting. Who's there? But, look, the morn in russet mantle clad, Walks o'er the dew of yon high eastern hill.
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Sources of Lear
Meddling with Masterpieces: the On-going Adaptation of King Lear by Lynne Bradley B.A., Queen’s University 1997 M.A., Queen’s University 1998 A dissertation submitted in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in the Department of English © Lynne Bradley, 2008 University of Victoria All rights reserved. This dissertation may not be reproduced in whole or in part, by photo-copying or other means, without the permission of the author. ii Meddling with Masterpieces: the On-going Adaptation of King Lear by Lynne Bradley B.A., Queen’s University 1997 M.A., Queen’s University 1998 Supervisory Committee Dr. Sheila M. Rabillard, Supervisor (Department of English) Dr. Janelle Jenstad, Departmental Member (Department of English) Dr. Michael Best, Departmental Member (Department of English) Dr. Annalee Lepp, Outside Member (Department of Women’s Studies) iii Supervisory Committee Dr. Sheila M. Rabillard, Supervisor (Department of English) Dr. Janelle Jenstad, Departmental Member (Department of English) Dr. Michael Best, Departmental Member (Department of English) Dr. Annalee Lepp, Outside Member (Department of Women’s Studies) Abstract The temptation to meddle with Shakespeare has proven irresistible to playwrights since the Restoration and has inspired some of the most reviled and most respected works of theatre. Nahum Tate’s tragic-comic King Lear (1681) was described as an execrable piece of dementation, but played on London stages for one hundred and fifty years. David Garrick was equally tempted to adapt King Lear in the eighteenth century, as were the burlesque playwrights of the nineteenth. In the twentieth century, the meddling continued with works like King Lear’s Wife (1913) by Gordon Bottomley and Dead Letters (1910) by Maurice Baring.
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William Shakespeare. Love's Labour's Lost
1 William Shakespeare. Love’s Labour’s Lost Bibliographie établie par Sophie Chiari * Une étoile signale un article ou un ouvrage particulièrement utile dans le cadre de la préparation au concours. ** Deux étoiles indiquent les textes à consulter en priorité. I. Bibliographie HARVEY, Nancy Lenz et Anna Kirwan Carey, Love’s Labor’s Lost : An Annotated Bibliography New York, Garland, 1984. II. Éditions (19 e et 20 e siècles) Note : l’in-quarto de la pièce (1598) est consultable sur le site de la British Library, http://www.bl.uk/treasures/shakespeare/labours.html • En anglais ——. A ew Variorum Edition of Love’s Labour’s Lost (1904), Réimprimée par Dover Publications, New York, 1964. ——. Love’s Labour’s Lost , ed. H.C. Hart, Londres, The Arden Shakespeare, 1 st Series, 1906. ——. Love’s Labour’s Lost , eds. Arthur Quiller-Couch et John Dover Wilson, Cambridge, Cambridge University Press, The New Shakespeare, 1923 (2 e édition de Dover Wilson seul, 1962). ——. Love’s Labour’s Lost , ed. Richard David, Londres, Methuen & Co Ltd, 1951. ——. Love’s Labour’s Lost , ed. AlFred Harbage, Londres, Penguin, The Pelican Shakespeare, 1963 (édition révisée, 1973). ——. Love’s Labour’s Lost , ed. John Arthos, New York, Signet, Signet Classic Shakespeare, 1965 (édition révisée, 1988; 2e édition révisée, 2004). ——— in The Complete Works , eds. Stanley Wells et Gary Taylor, OxFord, Clarendon Press, (1986), 2005. **—. Love’s Labour’s Lost , ed. John Kerrigan, Harmondsworth, Penguin Books, The New Penguin, (1982), 1986. **——. Love’s Labour’s Lost , ed. G. R. Hibbard, OxFord, OxFord University Press, 1990. ——. Love’s Labour’s Lost in The orton Shakespeare , eds.
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'Shakespeare's Hamlet'?
View metadata, citation and similar papers at core.ac.uk brought to you by CORE 遠藤：What do you mean by‘Shakespeare’s Hamlet’? What do you mean by‘Shakespeare’s Hamlet’? Hanako Endo ‘What do you mean by ‘Shakespeare’s Hamlet’?’1 is a question Edwards asks himself in his in- troduction to Hamlet. The similar question, ‘what does Hamlet mean?’2, is raised in the edition of Hamlet by Thompson and Taylor. Edwards’ answer is that the ideal text of Hamlet ‘does not exist in either of the two main authoritative texts, the second quarto and the Folio, but somewhere between them’,3 whereas Thompson and Taylor do not specify their answer, offering the wider view beyond editing texts. They state as follows: The question is of course impossible to answer in the space of this Introduction: we can only give some pointers towards current debates and hope that readers will also find sug- gestions in the reminder of the Introduction and in the commentary as to how modern performers and critics are interpreting the play, questioning or reaffirming old readings and finding new ones.4 Although the view of Thompson and Taylor is rather ambiguous and does not provide the editorial answer, Edwards and Thompson and Taylor acknowledge that Hamlet is obviously one of the most difficult plays to edit. This essay will venture to find what the text is or what the text should be for modern readers in order to solve the above question. It will give some examples of the problems of editing Hamlet but will also make a general comment on editing.
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Ann Thompson and Neil Taylor, Eds. 2006: Hamlet. the Arden Shakespeare. 3Rd Series. London: Thomson Learning
Ann Thompson and Neil Taylor, eds. 2006: Hamlet. The Arden Shakespeare. 3rd Series. London: Thomson Learning. 613 + xxii pp. ISBN 1-904271-33-2 Ann Thompson and Neil Taylor, eds. 2006: Hamlet, The Texts of 1603 and 1623. The Arden Shakespeare. 3rd Series. London: Thomson Learning. 368 + xv pp. ISBN 1- 904271-55-3 Jesús Tronch Pérez Universitat de València [email protected] Editing Shakespeare being a national pastime, the publication of any new critical edition of Shakespeare arouses great expectations. Curiosity impels scholars and conoisseurs alike to thumb the newly printed pages in order to verify how the editor solved this or that textual crux, opted for this or that modernization of a character’s name, or whether she or he offered a new-fangled emendation no one had hit upon before. If the new critical edition is Hamlet, the expectations are peculiar since the play has a singular and complex textual situation and a shifting editorial tradition, as is summarized in the next two paragraphs. Hamlet is unique in Shakespeare for having three substantive early texts: the First Quarto of 1603 (Q1), the Second Quarto of 1604/5 (Q2) and the First Folio of 1623 (F). The two latter texts are the basis of the received version of Hamlet but are different in over 1000 substantive variants (most of them single words or phrases in the dialogue), with 7% of F being absent from Q2, and 10% of Q2 absent in F.1 Traditionally defined as a ‘bad’ quarto memorially reconstructed by actor(s), Q1 is a notably different and shorter version, with discrepancies in structure, names of characters and a stylistically uneven dialogue fluctuating from identical to null correspondence with Q2 and F.
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Gary Taylor, John Jowett, Terri Bourus, and Gabriel Egan, (Eds.), the New Oxford Shakespeare: the Complete Works: Modern Critical Edition 47
Gary Taylor, John Jowett, Terri Bourus, and Gabriel Egan, (eds.), The New Oxford Shakespeare: The Complete Works: Modern Critical Edition 47 London: HMSO, 1911. 409-412. British History Online. Web. 20 March 2019. <http://www.british-history.ac.uk/no-series/acts-ordinances-interregnum/pp409- 412>. Bacon, Roger. The Mirror of Alchimy . with Certaine Other Treatises of the Like Argument. London, 1597. STC 1182. Bauthumley, Jacob. The Light and Dark Sides of God. London, 1650. Wing B1165A. Cartwright, William. The Plays and Poems of William Cartwright. Ed. G. Bleakmore Evans. Madison: U of Wisconsin P, 1951. Collinson, Patrick. The Elizabethan Puritan Movement. London: Cape, 1967. Crawford, Patricia. “Charles Stuart, That Man of Blood.” J of British Studies 16 (1977): 41-61. Davies, Julian. The Caroline Captivity of the Church. Oxford: Clarendon, 1992. Hermes Trismegistus. The Divine Pymander. London, 1649. Wing H1565. Hessayon, Ariel. “The Ranters and Their Sources.” Antiquarianism and Science in Early Modern Urban Networks. Ed. Vittoria Feola. Paris: Blanchard, 2014. 77-101. Hotham, Charles. An Introduction to the Teutonick Philosophie. London, 1650. Wing H2896. Tyacke, Nicholas. Anti-Calvinists. Oxford: Clarendon, 1987. フェリス女学院大学 ── 冨樫剛 Gary Taylor, John Jowett, Terri Bourus, and Gabriel Egan, (eds.), The New Oxford Shakespeare: The Complete Works: Modern Critical Edition Oxford: Oxford University Press, 2016. ix + 3382 pp. Reviewed by OYA Reiko, Keio University In the 1980s, Gary Taylor was deemed the enfant terrible of the Shakespeare world for his revisionist textual scholarship and fearless reevaluation of the playwright’s iconic status. He edited (with Michael Warren) a collection of essays, entitled The Division of the Kingdoms: Shakespeare’s Two Versions of ‘King Lear’ (1983), postulating that the texts in the 1608 Quarto and the 1623 First Folio reproduce discrete versions of the tragedy and that the differences between them are signs of authorial revision.
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Paul EDMONDSON-Stanley WELLS, Eds., the Shakespeare Circle: an Alternative Biography, Cambridge University Press, Cambridge, 2015, 368 Pages
Trakya Üniversitesi Edebiyat Fakültesi Dergisi, Cilt: 9 Sayı: 18, Temmuz 2019, s. 296-298 Kitap İncelemesi/Book Review DOI: 10.33207/trkede.597956 Paul EDMONDSON-Stanley WELLS, Eds., The Shakespeare Circle: An Alternative Biography, Cambridge University Press, Cambridge, 2015, 368 pages. Murat ÖĞÜTCÜ Published in the wake of the quatercentenary of Shakespeare’s death, The Shakespeare Circle: An Alternative Biography focuses on Shakespeare’s life, yet from a different vantage point. There is a long tradition of biographies about Shakespeare, either as sections or as separate works, which starts with John Aubrey’s Brief Lives (1669-96), and continues with Nicholas Rowe’s The Works of Mr. William Shakespear (1709), Alexander Pope’s The Works of Shakespear (1723-5), Samuel Johnson’s The Plays of William Shakespeare (1765), Edmond Malone’s The Plays and Poems of William Shakespeare (1790), John Payne Collier’s New Facts Regarding the Life of Shakespeare (1835), Lee Sidney’s The Life of William Shakespeare (1898), Frank Harris’s The Man Shakespeare and his Tragic Life-Story (1909), E. K. Chambers’s William Shakespeare: A Study of Facts and Problems (1930), A. L. Rowse’s My View of Shakespeare (1996), Samuel Schoenbaum’s William Shakespeare: A Compact Documentary Life (1987), Stanley Wells’s Shakespeare: A Life in Drama (1997), Jonathan Bate’s The Genius of Shakespeare (1998), Stephen Greenblatt’s Will in the World: How Shakespeare Became Shakespeare (2004), James Shapiro’s Contested Will: Who Wrote Shakespeare? (2010), and many more. Up to now, Shakespeare biographies have tried to form an organic unity from the several bits and pieces on Shakespeare’s life, the majority of which, however, consist of legal entries that are years apart from each other.
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The First Part of King Henry IV: Updated Edition Edited by Herbert Weil and Judith Weil Frontmatter More Information
Cambridge University Press 978-0-521-68743-0 - The First Part of King Henry IV: Updated edition Edited by Herbert Weil and Judith Weil Frontmatter More information THE NEW CAMBRIDGE SHAKESPEARE general editor Brian Gibbons associate general editor A. R. Braunmuller, University of California, Los Angeles From the publication of the ﬁrst volumes in 1984 the General Editor of the New Cambridge Shakespeare was Philip Brockbank and the Associate General Editors were Brian Gibbons and Robin Hood. From 1990 to 1994 the General Editor was Brian Gibbons and the Associate General Editors were A. R. Braunmuller and Robin Hood. THE FIRST PART OF KING HENRY IV This updated edition offers a strongly theatrical perspective on the origins of Shakespeare’s The First Part of King Henry IV and the history of its interpretation. The introduction clariﬁes the play’s surprising, de-centred dramatic structure, questioning the dominant assumption that the drama focuses on the education of Prince Hal. It calls attention to the effects of civil war upon a broad range of relationships. Falstaff’s unpredictable vitality is explored, together with important contemporary values of honour, friendship, festivity and reformation. Extensive lexical glosses of obscure, ambiguous or archaic meanings make the rich word- play accessible. The notes also provide a thorough commentary on Shakespeare’s transfor- mation of his sources (particularly Holinshed’s Chronicles) and suggest alternative stagings. This updated edition contains a new introductory section by Katharine A.
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Shakespeare Bites Back: Not So Anonymous 1
Shakespeare Bites Back: Not So Anonymous 1 IN PARTNERSHIP WITH misfit, inc. a by www.bloggingshakespeare.comWWW.BLOGGINGSHAKESPEARE.COM Shakespeare Bites Back: Not So Anonymous “Shakespeare Bites Back: Not So Anonymous” is a free ebook produced by The Shakespeare Birthplace Trust in partnership with Misfit, Inc. It is one of our many online projects, including Blogging Shakespeare, Finding Shakespeare, 60 Minutes with Shakespeare, Happy Birthday Shakespeare as well as many others. Our aim is to connect Shakespeare professionals, lovers and enthusiasts all over the world and to lead the world in democratising Shakespeare in the digital age. The Shakespeare Birthplace Trust is the independent charity charged with the care and promotion of Shake- speare’s physical and intellectual legacy. If you would like to know more or become involved with us then please go to www.shakespeare.org.uk. Dr. Diana Owen Director Shakespeare Birthplace Trust WWW.BLOGGINGSHAKESPEARE.COM Shakespeare TableBites Back: of Contents Not So Anonymous 3 The Evidence for Shakespeare 5 Doubting the Doubters 10 Shakespeare and Co. 11 Who’s in? Who’s out? 12 Infiltrating the Academy 13 Imagining Experience 15 Art Imitating Life 16 Among the Conspirators 18 Duping the Dean 21 The Language of the Doubters This book is free and does not 22 contain affiliate links. Share it with the world under the Sucking Shakespeare’s Blood 26 terms of creative commons attribution 3.0 license. Speaking up for Shakespeare 28 © 2011 Blogging Shakespeare Not at all anonymous 29 baked & frosted by misfit, inc. A Pro-Shakespearian Manifesto 32 Resources 40 WWW.BLOGGINGSHAKESPEARE.COM Shakespeare Bites Back: Not So Anonymous 4 by Rev.
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Factual Desert of Stanley Wells
THE FACTUAL DESERT OF STANLEY WELLS William J. Ray Professor Stanley Wells is Honorary President and a Life Trustee of the Shakespeare Birthplace Trust, Emeritus Professor of Shakespeare Studies of the University of Birmingham, Honorary Emeritus Governor of the Royal Shakespeare Theatre, General Editor of the Oxford Shakespeare series, and of the Oxford Complete Works. He has written forty-four books. Reviewer Ramon Jimenez noted in 2003 that Wells has written or edited a book a year for the previous 30 years, nearly all of them about Shakespeare.1 With such prestige and prolificacy, Wells is considered the doyen of Shakespeare studies. In the last decade he has taken a leadership role representing the assumptions, evidentiary precepts, and general consensus of the established guild and publication houses regarding the biographical origins of the Shakespeare canon. He assumed this responsibility again in June 2011 at the English Speaking Union in a debate occasioned by the release of Roland Emmerich’s film about Shakespeare, ‘Anonymous’. The text before us is Stanley Wells’s five-minute talk outlining his reasoning that Shakespeare the Bard was the same person born in the trading center Stratford-upon-Avon in 1564, who departed that locale, then returned, retired, and died there in 1616. I explicate the text, admirable in its brevity, for lessons about the state of Shakespeare studies. Ladies and gentlemen, I am here to explain in brief the grounds for my conviction that, give or take a few collaborations with other professional dramatists, the works currently attributed to William Shakespeare are the work of the townsman of Stratford-upon-Avon whose baptism on 26 April 1564 is recorded in the town’s parish registers and who is memorialized in the parish church with a bust and with tributary verses written in both Latin and English.2 We should note first that Professor Wells expressed his conviction, not his absolute certainty, which is proper scholarly protocol, since biography is subject to change based on the discovery of new probative fact.
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Shakespeare Silenced
Barber 1 ‘Tongue-tied by authority’: Shakespeare Silenced Dr Ros Barber, Goldsmiths, University of London Why do Shakespeare’s works endure? Certainly, he produced memorable tragic heroes and heroines in his genius-level drama and poetry, and moulded the English language into new and permanent forms: the phrase-maker extraordinaire, father of a hundred aphorisms. But though English has moved on to the point that studying Shakespeare can feel as taxing as learning the Latin and Greek that Ben Jonson claimed he had barely mastered, Shakespeare’s plays continue to speak to modern audiences for one single reason: his deep comprehension, and near-forensic examination, of human emotions. The emotional life of Shakespeare’s protagonists is rich and nuanced. Even when depicting what we might dare call pure evil, his portrayal of Richard III, the motivating emotions are comprehensible: Shakespeare’s Richard is no pantomime villain, and it is his deeply human complexity which continues to render him fascinating to both actors and audiences. Developing a new use for the soliloquy that Marlowe debuted in his Doctor Faustus, Shakespeare allows us into the minds of his flawed protagonists so that we can hear them not just think, but feel. Thus we witness directly, and feel empathetically, the anguish of Brutus’s decision to join in the assassination of Caesar; Hamlet’s painful vacillation; Lear’s soul-destroying regret. The emotional depth of Shakespeare’s characters is what imbues his plays with the vitality to survive close to half a millennium on the public stage, when those of contemporary Barber 2 genius Ben Jonson are rarely performed: we can still learn about ourselves from Shakespeare.
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Remedios Perni a Fellow of Infinite Jest
Remedios Perni A Fellow of Infinite Jest William Shakespeare approaches visual experience in most of his plays, either to privilege the power of sight over any other sense or to mistrust images for their fictitious simulation of true objects or people. Shakespeare’s reflection on visual stimuli is often related to artistic imagery. When the avid reader/spectator sees Hamlet contemplating Yorick’s skull, she is actually experiencing the incarnation of a memento mori, one of the most reproduced iconographies in European art since the fifteenth century. Turned into the most common among illustrations of Hamlet, including paintings and photographs, this memento mori has re-emerged throughout time, attracting artists of all periods. This paper aims to examine the infinite circulation of energy from word to image and vice versa by focusing on the dialogic relations between Shakespeare’s plays and some old and recent visual appropriations of Hamlet’s memento mori. There has always been a mutual interest between William Shakespeare and the visual arts. William Shakespeare addresses the visual experience in most of his plays, either to privilege the power of sight over any other sense – ‘I might not this believe / Without the sensible and true avouch / Of mine eyes’ (Hamlet, 1.1 55-57)1 – or to mistrust images for their fictitious simulation of true objects or people: ‘I see thee still […] / There’s not such thing’ (Macbeth, 2.1, 45-47).2 The boundaries between illusion and reality become blurred through the madness of Lear, the hallucinations of Macbeth, and the Spectre of Hamlet’s father.
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