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Reverberating Song in Shakespeare and Milton
In this study, Erin Minear explores the fascination of Shakespeare and Milton with the ability of music-heard, imagined, or remembered-to infiltrate language. Such infected language reproduces not so much the formal or sonic properties of music as its effects. Shakespeare's and Milton's understanding of these effects was determined, she argues, by history and culture as well as individual sensibility. They portray music as uncanny and divine, expressive and opaque, promoting associative rather than logical thought processes and unearthing unexpected memories. The title reflects the multiple and overlapping meanings of reverberation in the study: the lingering and infectious nature of musical...
An Overview of Hamlet Studies
Hamlet Studies (1979-2003), an international journal devoted exclusively to one work of art, Hamlet, presented a vast wealth of research on Shakespeare’s play, contributions from well-established critics from across the globe. This book focuses on the critical contribution Hamlet Studies made to the play’s scholarship, bringing together textual criticism, twentieth century critical thought and performance-based contributions. It represents a valuable and comprehensive guide for students and teachers studying Shakespeare in colleges and universities the world over.
The Taming of the Shrew
An updated edition of The Taming of the Shrew with sections added to the Introduction.
The Two Gentlemen of Verona
The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. In this second edition of The Two Gentlemen of Verona, Kurt Schlueter approaches Shakespeare's early comedy as a parody of two types of Renaissance educational fiction: the love-quest story and the test-of-friendship story, which in combination show high-flown human ideals as incompatible with each other and with human nature. Since the first known production at David Garrick's Drury Lane Theatre, the play has tempted major directors and actors, though changing conceptions of the play often fail to recognise its subversive impetus. This updated edition includes a new introductory section by Lucy Munro on recent stage and critical interpretations, bringing the thoroughly researched, illustrated performance history up to date.
The Taming of a Shrew
This is an edition of the anonymous play which is a version of Shakespeare's The Taming of the Shrew.
The Tragedy of King Lear
Offers a completely new introduction, with a particular emphasis on the play's afterlife in global performance and adaptation.
Hamlet, Prince of Denmark
This second edition of Hamlet features a new section on recent dramatic and critical interpretations.
Pericles
The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. Over the last two decades there has been a resurgence of theatrical interest in Shakespeare's Pericles, which has been rescued from comparative neglect and is now frequently performed. The editors reject the current orthodoxies, that the text is seriously corrupt and that the play is of divided authorship. They show how the 1609 quarto has features in common with the first quarto of King Lear, now widely regarded as being based on Shakespeare's manuscript. Likewise they regard the arguments concerning divided authorship as unproven and misleading. Instead they show the play to be a unified aesthetic experience.
The Cambridge Companion to Shakespearean Tragedy
Acquaints the student reader with the forms, contexts, and critical and theatrical lives of the ten plays considered to be Shakespeare's tragedies. Shakespearean tragedy is a highly complex and demanding theatre genre, but the thirteen essays, written by leading scholars in Britain and North America, are clear, concise and informative.
Shakespeare's French Connection
Shakespeare most often locates his plays in Italy and England, and his third most frequent setting is France. Indeed, nearly 70 scenes at a conservative count, and perhaps as many as 100, take place in France in a variety of significant geographical locations. French is also the foreign language Shakespeare uses most; he is sufficiently au fait with French to use it for puns and scatological jokes. He weaves in comments on French fashion, ways of walking, and skills in horsemanship, sword-playing and dancing. Not only does Shakespeare draw directly or indirectly upon French chroniclers but he also presents us with parts of French history. Many French characters people his stage; sometimes hi...
