The One-Hour Shakespeare series is a collection of abridged versions of Shakespeare's plays, designed specifically to accommodate both small and large casts.
Für diese zweisprachige Ausgabe wurde der griechische Text anhand der vorhandenen Ausgaben kritisch überprüft; die Prosaübersetzung versucht ihm Vers für Vers zu folgen, um den Wechsel zwischen Text, Übersetzung und Kommentar zu erleichtern.
Although Classical Athenian ideology did not permit women to exercise legal, economic, and social autonomy, the tragedies of Aeschylus, Sophocles, and Euripides often represent them as influential social and moral forces in their own right.
Acting from Shakespeare's First Folio examines a series of techniques for reading and performing Shakespeare's plays that are based on the texts of the first 'complete' volume of Shakespeare's works: the First Folio of 1623.
If it is not generally known that the foundations of twentieth-century criticism of Shakespeare's imagery were laid over one hundred and fifty years ago, the explanation lies in the limited availability of the single original edition of Walter Whiter's Specimen of a Commentary on Shakspeare published in 1794.
On December 1727 an intriguing play called Double Falshood; Or, The Distrest Lovers was presented for production by Lewis Theobald, who had it published in January 1728 after a successful run at the Theatre Royal, Drury Lane, London.
Performing Pedagogy in Early Modern England: Gender, Instruction, and Performance features essays questioning the extent to which education, an activity pursued in the home, classroom, and the church, led to, mirrored, and was perhaps even transformed by moments of instruction on stage.
Hospitality to strangers has become an increasingly prevalent topic in recent years, from political upheavals resulting in the displacement of millions of people, to the emergence of our collective obligations towards strangers during the Covid-19 pandemic.
Located at the intersection of new historicism and the 'new formalism', historical formalism is one of the most rapidly growing and important movements in early modern studies: taking seriously the theoretical issues raised by both history and form, it challenges the anti-formalist orthodoxies of new historicism and expands the scope of historicist criticism.
Shakespeare and Cultural Appropriation pushes back against two intertwined binaries: the idea that appropriation can only be either theft or gift, and the idea that cultural appropriation should be narrowly defined as an appropriative contest between a hegemonic and marginalized power.
Shakespeare and Asia brings together innovative scholars from Asia or with Asian connections to explore these matters of East-West and global contexts then and now.
In the first full-length study of Shakespeare's Roman plays, Coppelia Kahn brings to these texts a startling, critical perspective which interrogates the gender ideologies lurking behind 'Roman virtue'.
This reissed edition of Longman Annotated Texts King Lear includes comprehensive notes, annotations and an introduction, all designed to be of use to undergraduates and interested readers.
Through exciting and unconventional approaches, including critical/historical, printing/publishing and performance studies, this study mines Shakespeare's Romeo and Juliet to produce new insights into the early modern family, the individual, and society in the context of early modern capitalism.
This bibliography will give comprehensive coverage to published commentary in English on Shakespeare and the Classical Tradition during the period from 1961-1985.
Taking cross-disciplinary and comparative approaches to the volume's subject, this exciting collection of essays offers a reassessment of Shakespeare's erotic and Ovidian mythology within classical and continental aesthetic contexts.
Analyzing Shakespeare's views on theatre and magic and John Dee's concerns with philosophy and magic in the light of the Italian version of philosophia perennis (mainly Marsilio Ficino, Pico della Mirandola and Giordano Bruno), this book offers a new perspective on the Italian-English cultural dialogue at the Renaissance and its contribution to intellectual history.
In the first full-length study of Shakespeare's Roman plays, Coppelia Kahn brings to these texts a startling, critical perspective which interrogates the gender ideologies lurking behind 'Roman virtue'.
Publishing its nineteenth volume, The Shakespearean International Yearbook surveys the present state of Shakespeare studies, addressing issues that are fundamental to our interpretive encounter with Shakespeare's work and his time, across the whole spectrum of his literary output.
The Oxford Handbook of Shakespeare and Music showcases the latest international research into the captivating and vast subject of the many uses of music in relation to Shakespeare's plays and poems, extending from the Bard's own time to the present day.
Written by an international group of highly regarded scholars and rooted in the field of intermedial approaches to literary studies, this volume explores the complex aesthetic process of "e;picturing"e; in early modern English literature.
Through a selection of essays from a variety of scholarly voices, this volume maps the various ways in which Shakespeare has been adapted, adopted and appropriated in Ireland from the late 17th century through to the present day.
First published in 1982, this volume responds to the attribution of numerous plays to Shakespeare which were not his own and selects four plays which have been ascribed in whole or in part to Shakespeare by responsible, talented scholars: The Reign of King Edward III, Sir Thomas More, The History of Cardenio and The Two Noble Kinsmen.
Based on extensive archival research, Shakespeare in the Victorian Periodicals offers an entirely new perspective on popular Shakespeare reception by focusing on articles published in Victorian periodicals.
Renaissance Literature and Linguistic Creativity interrogates notions of linguistic creativity as presented in English literary texts of the late sixteenth century.
This is the first book on Richard III and the Tower of London, shedding new light on the King's reputation, the Castle's lore, and early modern literature's role in building associations between them.
