The essays in this collection provide in-depth analyses of Samuel Beckett's major works in the context of his international presence and circulation, particularly the translation, adaptation, appropriation and cultural reciprocation of his oeuvre.
The essays in this collection provide in-depth analyses of Samuel Beckett's major works in the context of his international presence and circulation, particularly the translation, adaptation, appropriation and cultural reciprocation of his oeuvre.
In The Sound of Nonsense, Richard Elliott highlights the importance of sound in understanding the 'nonsense' of writers such as Lewis Carroll, Edward Lear, James Joyce and Mervyn Peake, before connecting this noisy writing to works which engage more directly with sound, including sound poetry, experimental music and pop.
In The Sound of Nonsense, Richard Elliott highlights the importance of sound in understanding the 'nonsense' of writers such as Lewis Carroll, Edward Lear, James Joyce and Mervyn Peake, before connecting this noisy writing to works which engage more directly with sound, including sound poetry, experimental music and pop.
Here is a book to hearten playgoers, stimulate young actors, lead theatrical executives to reconsider methods of management, and encourage benefactors to open their wallets.
Shakespeare's Hamlet, regarded by many as the world's most famous play by the world's most famous writer, is one of the most complex, demanding, discussed, and influential literary texts in English.
Mediaeval Drama in Chester may seem an inaccurate title for lectures which actually reach in seventeenth century; but it is the type of drama, rather than the period, that is in question.
The dramatic traditions and conventions available to Shakespeare at the time he wrote King Lear were so rich and varied as to constitute an extremely resonant and complex vocabulary, one that Shakespeare fully utilized to shape his audience's response and to create the unique world of this play.
Not much remained to be said about Racine as a dramatic artist, but as one brought up to consider Shakespeare as the model of tragedy, the author brings a fresh approach to a dramatist who has been to a great extent a Gallic monopoly.
The idea that the world is a theatre in which each individual human being plays out the part assigned to him by God, who is both the playwright and the producer of the drama of life, was one of the great commonplaces of the Renaissance and one to which Shakespeare alluded frequently.
The Problem Plays-Hamlet, Troilus and Cressida, All's Well That Ends Well and Measure for Measure-form a group distinguished by such common factors as a preoccupation with religious dogma and the problem of evil; an interest in human nature as it is, rather than with its latent capacities; and a strong contrast between the outlook of youth and age.
With the exception of the closing essay, the contents of this book represent a garnering of various articles on the poetry of Browning printed during the course of years in scholarly journals.
Professor Leech examines here the changing nature of Shakespeare's comic art, from its early forms in such plays as The Comedy of Errors and The Two Gentlemen of Verona, where delight predominates, to later developments in Measure for Measure and The Winter's Tale, where elements of the playwright's tragic vision intrude to prevent the effect from being wholly comic.
"e;I am talking about Milton because I enjoy talking about Milton,"e; This statement made by Northrop Frye at the beginning of The Return of Eden sets the tone for the entire book.
This collection of original new essays focuses on the many ways in which early modern Spanish plays engaged their audiences in a dialogue about abuse, injustice, and inequality.
This collection of original new essays focuses on the many ways in which early modern Spanish plays engaged their audiences in a dialogue about abuse, injustice, and inequality.
Poetry on Stage focuses on exchanges between the writers of the Italian neo-avant-garde with the actors, directors, and playwrights of the Nuovo Teatro.
Poetry on Stage focuses on exchanges between the writers of the Italian neo-avant-garde with the actors, directors, and playwrights of the Nuovo Teatro.
The Dramaturgy of the Spectator explores how Italian theatre consciously adjusted to the emergence of a new kind of spectator who became central to society, politics, and culture in the mid-seventeenth and eighteenth centuries.
The Dramaturgy of the Spectator explores how Italian theatre consciously adjusted to the emergence of a new kind of spectator who became central to society, politics, and culture in the mid-seventeenth and eighteenth centuries.
This collection of Northrop Frye's writings on Shakespeare and the Renaissance spans forty years of his career as a university teacher, public critic, and major theorist of literature and its cultural functions.
In the decades before history was institutionalized as a scholarly discipline, historical writing was practiced variously by poets, record keepers, lawyers, sermonizers, mythologizers, and philosophers.
In the decades before history was institutionalized as a scholarly discipline, historical writing was practiced variously by poets, record keepers, lawyers, sermonizers, mythologizers, and philosophers.
