Sources of Lear
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
JBC Book Clubs Discussion Guide Created in Partnership with Picador Jewishbookcouncil.Org
JBC Book Clubs Discussion Guide Created in partnership with Picador Jewishbookcouncil.org Jewish Book Council Contents: 20th Century Russia: In Brief 3 A Glossary of Cultural References 7 JBC Book Clubs Discussion Questions 16 Recipes Inspired by The Yid 20 Articles of Interest and Related Media 25 Paul Goldberg’s JBC Visiting Scribe Blog Posts 26 20th Century Russia: In Brief After the Russian Revolution of 1917 ended the Czar- Stalin and the Jews ist autocracy, Russia’s future was uncertain, with At the start of the Russian Revolution, though reli- many political groups vying for power and ideolog- gion and religiosity was considered outdated and su- ical dominance. This led to the Russian Civil War perstitious, anti-Semitism was officially renounced (1917-1922), which was primarily a war between the by Lenin’s soviet (council) and the Bolsheviks. Bolsheviks (the Red Army) and those who opposed During this time, the State sanctioned institutions of them. The opposing White Army was a loose collec- Yiddish culture, like GOSET, as a way of connecting tion of Russian political groups and foreign nations. with the people and bringing them into the Commu- Lenin’s Bolsheviks eventually defeated the Whites nist ideology. and established Soviet rule through all of Russia un- der the Russian Communist Party. Following Lenin’s Though Stalin was personally an anti-Semite who death in 1924, Joseph Stalin, the Secretary General of hated “yids” and considered the enemy Menshevik the RCP, assumed leadership of the Soviet Union. Party an organization of Jews (as opposed to the Bolsheviks which he considered to be Russian), as Under Stalin, the country underwent a period of late as 1931, he continued to condemn anti-Semitism. -
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. -
Cordelia''s Portrait in the Context of King Lear''s
Paula M. Rodríguez Gómez Cordelias Portrait in the Context of King Lears... 181 CORDELIAS PORTRAIT IN THE CONTEXT OF KING LEARS INDIVIDUATION* Paula M. Rodríguez Gómez** Abstract: This analysis attempts to show the relations between the individual psyche and the contents of the collective unconscious. Following Von Franzs analytical technique, the tragic action in King Lear will be read as an individuation process that will rescue archetypal contents and solve existential paradoxes that cause an imbalance between the ego and the self, leading to self-destruction. Once communication is eased and balance is restored, the transformation-seeking process that engaged the design of the play itself becomes resolved, and events can be led to a conventional tragic resolution. Jungian analysis will therefore provide a critical framework to unveil the subconscious contents that tear the character of the king between annihilation and survival, the anima complex that affects the king, responding thus for the action of the play and its centuries-old success. Keywords: collective unconscious, myth, individuation, archetype, tragedy, anima. Resumen: Este análisis pretende sacar a la luz las relaciones entre la psyche individual y los contenidos del inconsciente colectivo. Siguiendo la técnica analítica de Von Franz, la acción trágica de King Lear será entendida a través del proceso de individuación que revierte sobre los contenidos arquetípicos y resuelve las paradojas existenciales que cau- san el desequilibrio entre ego y self. Una vez que la comunicación es facilitada y el equilibrio psíquico recuperado, el proceso transformativo que afecta la génesis de la trama se resuelve y el argumento alcanza una resolución convencional. -
87 Hemingway, S. B. (Ed.), Henry IV, Part 1 (New Variorum Shake
87 Texts Hemingway, S. B. (ed.), Henry IV, Part 1 (New Variorum Shake speare, Philadelphia and London, 1936). Shaaber, Matthias A. (ed.), Henry IV, Part 2 (New Variorum Shakespeare, Philadelphia and London, 1940). Humphreys, A. R. (ed.), Henry IV, Part 1 (Arden Shakespeare, London, 1960). Humphreys, A. R. (ed.), Henry IV, Part 2 (Arden Shakespeare, London, 1966). Davison, P. H. (ed.), Henry IV, Part 1 (New Penguin Shakespeare, Harmondsworth, 1968). Davison, P. H. (ed.), Henry IV, Part 2 (New Penguin Shakespeare, Harmondsworth, 1977). Mack, Maynard (ed.), Henry IV, Part 1 (Signet Shakespeare, New York, 1965, 1987). Holland, Norman L. (ed.), Henry IV, Part 2 (Signet Shakespeare, New York, 1965). Bevington, David (ed.), Henry IV, Part 1 (Oxford Shakespeare, Oxford, 1987). Melchiori, Giorgio (ed.), Henry IV, Part 2 (Oxford Shakespeare, Oxford, 1989). The New Variorum Shakespeare editions are monumental works of scholarship for reference only. All the remaining editions cater for students' needs with critical introductions, notes, sources and so on. Long established with footnotes that are easily used, the Arden edition has always been very popular. The Signet and Penguin editions have made their mark and are quite economical. The recent Oxford editions have excellent illustrations and are strong on stage history. 88 Bibliographies, Guides and Surveys Bergeron, David M., and De Sousa, Geraldo U., Shakespeare: A Study and Research Guide (Lawrence, Kansas, 1987). Berry, Edward, 'Twentieth-century Shakespeare criticism: the his tories' in Stanley Wells (ed.), The Cambridge Companion to Shakespeare Studies (Cambridge, 1986). Burden, Dennis H., 'Shakespeare's History Plays: 1952-1983', Shakespeare Survey 38, 1985, pp. 1-18. -
ROMANTIC CRITICISM of SHAKESPEARIAN DRAMA By
ROMANTIC CRITICISM OF SHAKESPEARIAN DRAMA By JOHN g,RAWFORD Associate of Arts Texarkana College Texarkana, Texas 1956 Bachelor of Science in Education Ouachita Baptist University Arkadelphia, Arkansas 1959 Master of Science in Education Drake University Des Moines, Iowa 1962 Submitted to the faculty of .the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the degree of DOCTOR OF EDUCATION May, 1968 OKLAHOMA STATE UNIVERSITY LIBRARY OCT 24 1968 ROMANTIC CRITICISM OF SHAKESPEARIAN DRAMA Thesis Approved: Thesis Adviser \ f ,A .. < \ Dean of the Graduate College ii ACKNOWLEDGMENTS I should like to· thank anumber·of people who helped me in many different ways during· the·preparation· of .this dissertation, notably Dr. David· S. Berkeley,·major adviser, who-lent words of encouragement, guidance, understanding, and patience; but also my committee members, Dr. Darrel Ray·, Pr~ Judson Milburn, and· .Dr~- Loyd Douglas; and. the Oklahoma State University library staff, especially Miss Helen Donart and Mrs • .:fosephine Monk. iii TABLE-OF CONTENTS Chap tel' Page. I. INTRODUCTION •••• 1 II. HAMLET .••• . ' . .. ... 29 III. ANTONY -~ CLEOPATRA • • • • . • • . • • • It • . • • . • .• • a1 ·IV. HENRYV· . ,. ". .• . 122 V. THE· MERCHANT ·QE. VENICE .- . "' . 153 VI. CONCLUSION • • ' . -. ,. 187 BIBLIOGRAPHY • • • • · • . .. 191 iv CHAPTER I INTRODUCTION Of all the so-called schools of Shakespearian criticism, the Romantic has been and continues to be one of the most influential. Per- haps this is true merely because of the impor~ance which the Romantic School places upon the genius of the subj~ct, for all schools of criti- cism recognize Shakespeare's ability at creating effective drama. A more accurate answer, however, probably lies in the fact that "romanti- cism" has a broad base and encompasses so very much. -
Shavian Shakespeare: Shaw's Use and Transformation of Shakespearean Materials in His Dramas
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1971 Shavian Shakespeare: Shaw's Use and Transformation of Shakespearean Materials in His Dramas. Lise Brandt Pedersen Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Pedersen, Lise Brandt, "Shavian Shakespeare: Shaw's Use and Transformation of Shakespearean Materials in His Dramas." (1971). LSU Historical Dissertations and Theses. 2159. https://digitalcommons.lsu.edu/gradschool_disstheses/2159 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. I I 72- 17,797 PEDERSEN, Lise Brandt, 1926- SHAVIAN .SHAKESPEARE:' SHAW'S USE AND TRANSFORMATION OF SHAKESPEAREAN MATERIALS IN HIS DRAMAS. The Louisiana State University and Agricultural and Mechanical College, Ph.D., 1971 Language and Literature, modern University Microfilms, XEROXA Company, Ann Arbor, Michigan tT,TITn ^TnoT.r.a.A'TTAItf U4C PPPM MT PROPTT.MF'n FVAOTT.V AR RECEI VE D SHAVIAN SHAKESPEARE: SHAW'S USE AND TRANSFORMATION OF SHAKESPEAREAN MATERIALS IN HIS DRAMAS A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English by Lise Brandt Pedersen B.A., Tulane University, 1952 M.A., Louisiana State University, 1963 December, 1971 ACKNOWLEDGMENT I wish to thank Dr. -
Ruth Peters Prologue Shakespeare by Matthew Arnold Read by Eleanor
Welcome Ruth Peters Prologue Shakespeare by Matthew Arnold read by Eleanor Zuercher Paul Hayter Introduction (and historical links in the programme) Thomas Morley (1557/8-1602) ‘My bonnie lass she smileth’ (madrigal) BCMC Singers with Chris Britton (flute), Rey Lear (flute), Christine Griggs (oboe), Robert Wells (oboe), Sarah Turnock (viol) and tambour John Dowland (1563-1626) Can she excuse my wrongs? (madrigal) Reading William Shakespeare (1564-1616) Description of Cleopatra - Anthony and Cleopatra, Act 2 Scene 2 William Byrd (1543 – 1623) Wolsey’s Wilde Giles Farnaby (1563 – 1640) Loth to Depart Thomas Morley La Volta John Bull (1562 – 1628) The King’s Hunt Chris Britton (recorder), Rey Lear (recorder and guitar), Karen Lesniak (recorder), Chris Seddon (recorder) John Farmer (fl.1591-1601) ‘Fair Phyllis I saw sitting all alone’ (madrigal) Orlando Gibbons (1583-1625) The Silver Swan (madrigal) Sonnet 130 William Shakespeare Michael Arne (1741-1786) ‘Pastorale’ Christine Griggs (oboe), Auriel Warwick (piano) Sonnet 129 William Shakespeare Henry Purcell (1659-95) Golden Sonata Christine Griggs (oboe), Robert Wells (oboe), Auriel Warwick (piano) Henry Purcell (1659-95) ‘ If Music be the Food of Love’ (arr.Chris Seddon) Cathy Bowker (piano), Sarah Turnock (viol) Thomas Arne (1710-1778) When Daisies Pied (madrigal) INTERVAL William Sterndale Bennet (1816-1875) words by Christopher Marlowe ‘ Come live with me’ (unaccompanied) Charles Wood (1866-1926) ‘Full Fathoms Five’ (unaccompanied) Carl Sandburg (1878-1967) ’They all want to play Hamlet’ Johannes Brahms (1833-1897) ‘Ophelia Lieder’ from Hamlet Helen Swift (soprano), accompanied by Cathy Bowker William Shakespeare The Death of Ophelia from Hamlet Sarah Quartel (b. 1982) ‘I know a bank where the wild thyme blows’ Alan Bullard (b. -
READING LIST for IED 366 SHAKESPEARE
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. -
Directed by David Schwingle
THE UNIVERSITY CLASSIC PLAYERS in William Shakespeare’s Directed by David Schwingle Set and Costume Design by Jeffrey Stegall Lighting design by Richard Streeter Music by Kenon Renfrow CAST OF CHARACTERS DIRECTOR’S NOTES Lear, King of Britain ......................................................................... Ron Pyle It is a fearful thing to write about Shakespeare (brief let me be!). The fear increases when one approaches the Goneril, Lear’s eldest daughter ............................................................... Erin Naler towering achievement that is King Lear. The wheel turns a bit more toward a paralyzed state if one considers Duke of Albany, Goneril’s husband ................................................... Harrison Miller the laden, ceremonial barge of relevant scholarship on the subjects. (Imagine entering a room and seeing Oswald, Goneril’s steward ............................................................. Nathan Pittack the eminent Shakespeare scholar, Emma Smith, or our local Spenser and Shakespeare scholar, Ron Horton, Regan, Lear’s second daughter ............................................................ Emily Arcuri comfortably seated, smiling at you!) And yet, though surrounded by giants on every side, some of Lear’s own Duke of Cornwall, Regan’s husband ..................................................... Alex Viscioni making, King Lear pushes on, so I’ll push on and pen a few words about Lear, language, and love. Cordelia, Lear’s youngest daughter .................................................... -
Redeeming the Debauched Falstaff | the American Conservative
10/26/2017 Redeeming the Debauched Falstaff | The American Conservative BLOGS POLITICS WORLD CULTURE EVENTS NEW URBANISM ABOUT DONATE The Right’s Redeeming the Happy Birthday, I Fought a War How Saddam Ezra Pound, Shutting Up The Strangene Biggest Wedge Debauched Hillary Against Iran— Hussein Locked Away Richard Spencer of ‘Stranger Issue: Donald Falstaff and It Ended Predicted Things’ Trump Badly America’s Redeeming the Debauched Falstaff Do not moralize---there is a little of Shakespeare's 'Fat Knight' in all of us. By ALLEN MENDENHALL • October 26, 2017 Like 3 Share Tweet Falstaff und sein Page, by Adolf Schrödter, 1866 (Public Domain). Falstaff: Give Me Life (Shakespeare’s Personalities) Harold Bloom, Scribner, 176 pages. In The Daemon Knows, published in 2015, the heroic, boundless Harold Bloom claimed to have one more book left in him. If his contract with Simon & Schuster is any indication, he has more work than that to complete. The effusive 86-year-old has agreed to produce a sequence of five books on Shakespearean personalities, presumably those with whom he’s most enamored. The first, recently released, is Falstaff: Give Me Life, which has been called an “extended essay” but reads more like 21 ponderous essay-fragments, as though Bloom has compiled his notes and reflections over the years. The result is a solemn, exhilarating meditation on Sir John Falstaff, the cheerful, slovenly, degenerate knight whose unwavering and ultimately self- destructive loyalty to Henry of Monmouth, or Prince Hal, his companion in William Shakespeare’s Henry trilogy (“the Henriad”), redeems his otherwise debauched character. http://www.theamericanconservative.com/articles/redeeming-the-debauched-falstaff/ 1/4 10/26/2017 Redeeming the Debauched Falstaff | The American Conservative Except Bloom doesn’t see the punning, name-calling Falstaff that way. -
A Divine Cause for Abandoning Reason in Shakespeare's King
GAUN JSS A Divine Cause for Abandoning Reason in Shakespeare’s King Lear Shakespeare’in Kral Lear Oyununda Mantığı Terketmek için Kutsal Sebep Gül KURTULUŞ* Abstract King Lear can be considered as one of the most powerful tragedies written by Shakespeare. Written nearly 400 years ago, it appeals to todays’ literary critiques, psychologists and psychiatrists. Shakespeare’s construction of madness is so deep that psychiatrists diagnose the type of madness King Lear suffers from with its various as- pects, such as mental disorder, mania, and dementia. One of the elements that triggers his dementia is stress which can be found in Lear’s case due to the corrupted relationship with daughters. Lear has unsolved problems with all of his daughters. Lear does not love them as a father, he loves them as a mother would do hence, their abandonment leads to his collapse. In the father-dominant family model of Elizabethan times King Lear was written, this idea is emphasized in the play further with the exclusion of a mother. King Lear does not only main- tain kingly authority but also as the only head of the family and care-giver for his daughters, he maintains both a father’s and mother’s authority role. King Lear does not have a wife to consult when he’s distressed and ask for comfort, however he has his daughters. The play starts off exactly with Lear asking for consolation and love from his daughters. Cordelia’s refusal to give a solid consolation to him results in chaos for Lear who is in des- perate need to receive affection. -
Literature : King Lear ( Act (1
Literature : King Lear Act (1 ( Farhouda Ferwana Rula Farouq Al Farra Objectives: Students are expected to: Scan the 1st act for details, then answer comprehension questions. 2 A long time ago, Lear was King of Britain. He had three daughters. The oldest daughter, Goneril, was married to the Duke of Albany. His middle daughter, Regan, was the wife of the Duke of Cornwall. The King of France and the Duke of Burgundy both wanted to marry his youngest daughter, Cordelia. 3 A long time ago, Lear was King of Britain. He had three daughters. The oldest daughter, Goneril, was married to the Duke of Albany. His middle daughter, Regan, was the wife of the Duke of Cornwall. The King of France and the Duke of Burgundy both wanted to marry his youngest daughter, Cordelia. Answer the following question: 1. Who was Lear? How many daughters did he have? He was King of Britain and he had three daughters, Goneril, Regan and Cordelia. 4 King Lear was old and tired, and he decided to give the country to his three daughters. They and their husbands would rule instead of him, while he, with one hundred knights to protect him, would stay with each daughter in turn for a month. 5 King Lear was old and tired, and he decided to give the country to his three daughters. They and their husbands would rule instead of him, while he, with one hundred knights to protect him, would stay with each daughter in turn for a month. 2. What will happen when he gives them the country? a.