Few of Shakespeare's comedies have proved more popular and enduring than The Taming of the Shrew - and yet it has come to seem one of Shakespeare's more controversial plays.
Consulting an extensive archive of early modern literature, Joy of the Worm asserts that voluntary death in literature is not always a matter of tragedy.
In the study of Shakespeare since the eighteenth century, four key concepts have served to situate Shakespeare in history: chronology, periodization, secularization, and anachronism.
According to traditional accounts, the history of tragedy is itself tragic: following a miraculous birth in fifth-century Athens and a brilliant resurgence in the early modern period, tragic drama then falls into a marked decline.
Shylock, the Jewish moneylender in The Merchant of Venice who famously demands a pound of flesh as security for a loan to his antisemitic tormentors, is one of Shakespeare's most complex and idiosyncratic characters.
A classic, accessible guide to the plays of Shakespeare by a legendary teacher and scholar Centuries after they were originally performed, the plays of Shakespeare continue to inspire, entertain, and awe audiences and readers today.
Great halls and hovels, dove-houses and sheepcotes, mountain cells and seaside shelters-these are some of the spaces in which Shakespearean characters gather to dwell, and to test their connections with one another and their worlds.
Turning to the potent idea of political theology to recover the strange mix of political and religious thinking during the Renaissance, this bracing study reveals in the works of Shakespeare and his sources the figure of the citizen-saint, who represents at once divine messenger and civil servant, both norm and exception.
Written by one of the best-known interpreters of classical literature today, Sophocles and the Language of Tragedy presents a revolutionary take on the work of this great classical playwright and on how our understanding of tragedy has been shaped by our literary past.
Rhetorical training was the central component of an elite Roman man's education, and declamations--imaginary courtroom speeches in the character of a fictional or historical individual--were the most advanced exercises in the standard rhetorical curriculum.
Speculation about Shakespeare's own religious beliefs and responses to the Reformation have dominated discussions of faith in the playwright's work for decades.
The Greek Tragedy in New Translations series is based on the conviction that only translators who write poetry themselves, or who work in collaboration with poets, can properly re-create the celebrated and timeless tragedies of the great Greek writers.
Close Listening brings together seventeen strikingly original essays, especially written for this volume, on the poetry reading, the sound of poetry, and the visual performance of poetry.
Based on the conviction that only translators who write poetry themselves can properly recreate the celebrated and timeless tragedies of Aeschylus, Sophocles, and Euripides, the Greek Tragedy in New Translations series offers new translations that go beyond the literal meaning of the Greek in order to evoke the poetry of the originals.
A vivid snapshot of America's kaleidoscopic literary tradition, A Journey Through American Literature illuminates the authors, works, and events that have shaped our cultural heritage.
Treating sixteenth- and seventeenth-century erotic literature as part of English political history, Erotic Subjects traces some surprising implications of two early modern commonplaces: first, that love is the basis of political consent and obedience, and second, that suffering is an intrinsic part of love.
Based on the conviction that only translators who write poetry themselves can properly re-create the celebrated and timeless tragedies of Aeschylus, Sophocles, and Euripides, the Greek Tragedy in New Translations offers new translations that go beyond the literal meaning of the Greek in order to evoke the poetry of the originals.
Based on the conviction that only translators who write poetry themselves can properly re-create the celebrated and timeless tragedies of Aeschylus, Sophocles, and Euripides, the Greek Tragedy in New Translations offers new translations that go beyond the literal meaning of the Greek in order to evoke the poetry of the originals.
For readers accustomed to the relatively undramatic standard translations of Prometheus Bound, this version by James Scully, a poet and winner of the Lamont Poetry Prize, and C.
Based on the conviction that only translators who write poetry themselves can properly re-create the celebrated and timeless tragedies of Aeschylus, Sophocles, and Euripides, the Greek Tragedy in New Translations series offers new translations that go beyond the literal meaning of the Greek in order to evoke the poetry of the originals.
Based on the conviction that only translators who write poetry themselves can properly re-create the celebrated and timeless tragedies of Aeschylus, Sophocles, and Euripides, the Greek Tragedy in New Translations series offers new translations that go beyond the literal meaning of the Greek in order to evoke the poetry of the originals.
Based on the conviction that only translators who write poetry themselves can properly re-create the celebrated and timeless tragedies of Aeschylus, Sophocles, and Euripides, the Greek Tragedy in New Translations series offers new translations that go beyond the literal meaning of the Greek in order to evoke the poetry of the originals.
Based on the conviction that only translators who write poetry themselves can properly re-create the celebrated and timeless tragedies of Aeschylus, Sophocles, and Euripides, the Greek Tragedy in New Translations series offers new translations that go beyond the literal meaning of the Greek in order to evoke the poetry of the originals.
Written by one of the best-known interpreters of classical literature today, Sophocles and the Language of Tragedy presents a revolutionary take on the work of this great classical playwright and on how our understanding of tragedy has been shaped by our literary past.
For readers accustomed to the relatively undramatic standard translations of Prometheus Bound, this version by James Scully, a poet and winner of the Lamont Poetry Prize, and C.
Most philosophy has rejected the theater, denouncing it as a place of illusion or moral decay; the theater in turn has rejected philosophy, insisting that drama deals in actions, not ideas.
Based on the conviction that only translators who write poetry themselves can properly re-create the celebrated and timeless tragedies of Aeschylus, Sophocles, and Euripides, the Greek Tragedy in New Translations offers new translations that go beyond the literal meaning of the Greek in order to evoke the poetry of the originals.
Based on the conviction that only translators who write poetry themselves can properly re-create the celebrated and timeless tragedies of Aeschylus, Sophocles, and Euripides, the Greek Tragedy in New Translations offers new translations that go beyond the literal meaning of the Greek in order to evoke the poetry of the originals.
