David Scott Kastan lucidly explores the remarkable richness and the ambitious design of King Henry IV Part 1 and shows how these complicate any easy sense of what kind of play it is.
This edition of one of Shakespeare's best known and most frequently performed plays argues for Julius Caesar as a new kind of political play, a radical departure from contemporary practice, combining fast action and immediacy with compelling rhetorical language, and finding a clear context for its study of tyranny in the last decade of the reign of Elizabeth 1.
The core of the ground-breaking, three text edition, this self-contained, free-standing volume gives readers the Second Quarto text (1604-5) and includes in its Introduction, notes and Appendices all the reader might expect to find in any standard Arden edition.
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.
John Wilders - literary advisor to the BBC TV Shakespeare series - brings thorough scholarship and a practical understanding of performance needs to this new edition.
The extended second edition of this inspiring introduction to Shakespeare offers readers more insights into what makes Shakespeare great, and why we still read and perform his works.
The performing arts are uniquely capable of translating a vision of an ideal or sacred reality into lived practice, allowing an audience to confront deeply held values and beliefs as they observe a performance.
The performing arts are uniquely capable of translating a vision of an ideal or sacred reality into lived practice, allowing an audience to confront deeply held values and beliefs as they observe a performance.
First published in 1991, this book is the first annotated bibliography of feminist Shakespeare criticism from 1975 to 1988 - a period that saw a remarkable amount of ground-breaking work.
First published in 1991, this book is the first annotated bibliography of feminist Shakespeare criticism from 1975 to 1988 - a period that saw a remarkable amount of ground-breaking work.
In Shakespeare in Three Dimensions, Robert Blacker asks us to set aside what we think we know about Shakespeare and rediscover his plays on the page, and as Shakespeare intended, in the rehearsal room and in performance.
In Shakespeare in Three Dimensions, Robert Blacker asks us to set aside what we think we know about Shakespeare and rediscover his plays on the page, and as Shakespeare intended, in the rehearsal room and in performance.
This collection examines the widespread phenomenon of hypocrisy in literary, theological, political, and social circles in England during the years after the Reformation and up to the Restoration.
This collection examines the widespread phenomenon of hypocrisy in literary, theological, political, and social circles in England during the years after the Reformation and up to the Restoration.
"e;Post-Hamlet: Shakespeare in an Era of Textual Exhaustion"e; examines how postmodern audiences continue to reengage with Hamlet in spite of our culture's oversaturation with this most canonical of texts.
"e;Post-Hamlet: Shakespeare in an Era of Textual Exhaustion"e; examines how postmodern audiences continue to reengage with Hamlet in spite of our culture's oversaturation with this most canonical of texts.
In this new monograph, Claire Hansen demonstrates how Shakespeare can be understood as a complex system, and how complexity theory can provide compelling and original readings of Shakespeare's plays.
This eighth volume of The Shakespearean International Yearbook presents a special section on 'European Shakespeares', proceeding from the claim that Shakespeare's literary craft was not just native English or British, but was filtered and fashioned through a Renaissance awareness that needs to be recognized as European, and that has had effects and afterlives across the Continent.
This eighth volume of The Shakespearean International Yearbook presents a special section on 'European Shakespeares', proceeding from the claim that Shakespeare's literary craft was not just native English or British, but was filtered and fashioned through a Renaissance awareness that needs to be recognized as European, and that has had effects and afterlives across the Continent.
This eighth volume of The Shakespearean International Yearbook presents a special section on 'European Shakespeares', proceeding from the claim that Shakespeare's literary craft was not just native English or British, but was filtered and fashioned through a Renaissance awareness that needs to be recognized as European, and that has had effects and afterlives across the Continent.
This eighth volume of The Shakespearean International Yearbook presents a special section on 'European Shakespeares', proceeding from the claim that Shakespeare's literary craft was not just native English or British, but was filtered and fashioned through a Renaissance awareness that needs to be recognized as European, and that has had effects and afterlives across the Continent.
This eighth volume of The Shakespearean International Yearbook presents a special section on 'European Shakespeares', proceeding from the claim that Shakespeare's literary craft was not just native English or British, but was filtered and fashioned through a Renaissance awareness that needs to be recognized as European, and that has had effects and afterlives across the Continent.
This eighth volume of The Shakespearean International Yearbook presents a special section on 'European Shakespeares', proceeding from the claim that Shakespeare's literary craft was not just native English or British, but was filtered and fashioned through a Renaissance awareness that needs to be recognized as European, and that has had effects and afterlives across the Continent.
This eighth volume of The Shakespearean International Yearbook presents a special section on 'European Shakespeares', proceeding from the claim that Shakespeare's literary craft was not just native English or British, but was filtered and fashioned through a Renaissance awareness that needs to be recognized as European, and that has had effects and afterlives across the Continent.
This eighth volume of The Shakespearean International Yearbook presents a special section on 'European Shakespeares', proceeding from the claim that Shakespeare's literary craft was not just native English or British, but was filtered and fashioned through a Renaissance awareness that needs to be recognized as European, and that has had effects and afterlives across the Continent.
This eighth volume of The Shakespearean International Yearbook presents a special section on 'European Shakespeares', proceeding from the claim that Shakespeare's literary craft was not just native English or British, but was filtered and fashioned through a Renaissance awareness that needs to be recognized as European, and that has had effects and afterlives across the Continent.
This eighth volume of The Shakespearean International Yearbook presents a special section on 'European Shakespeares', proceeding from the claim that Shakespeare's literary craft was not just native English or British, but was filtered and fashioned through a Renaissance awareness that needs to be recognized as European, and that has had effects and afterlives across the Continent.
This eighth volume of The Shakespearean International Yearbook presents a special section on 'European Shakespeares', proceeding from the claim that Shakespeare's literary craft was not just native English or British, but was filtered and fashioned through a Renaissance awareness that needs to be recognized as European, and that has had effects and afterlives across the Continent.
This eighth volume of The Shakespearean International Yearbook presents a special section on 'European Shakespeares', proceeding from the claim that Shakespeare's literary craft was not just native English or British, but was filtered and fashioned through a Renaissance awareness that needs to be recognized as European, and that has had effects and afterlives across the Continent.
This eighth volume of The Shakespearean International Yearbook presents a special section on 'European Shakespeares', proceeding from the claim that Shakespeare's literary craft was not just native English or British, but was filtered and fashioned through a Renaissance awareness that needs to be recognized as European, and that has had effects and afterlives across the Continent.
This eighth volume of The Shakespearean International Yearbook presents a special section on 'European Shakespeares', proceeding from the claim that Shakespeare's literary craft was not just native English or British, but was filtered and fashioned through a Renaissance awareness that needs to be recognized as European, and that has had effects and afterlives across the Continent.
This eighth volume of The Shakespearean International Yearbook presents a special section on 'European Shakespeares', proceeding from the claim that Shakespeare's literary craft was not just native English or British, but was filtered and fashioned through a Renaissance awareness that needs to be recognized as European, and that has had effects and afterlives across the Continent.
This eighth volume of The Shakespearean International Yearbook presents a special section on 'European Shakespeares', proceeding from the claim that Shakespeare's literary craft was not just native English or British, but was filtered and fashioned through a Renaissance awareness that needs to be recognized as European, and that has had effects and afterlives across the Continent.
1590s Drama and Militarism is a fascinating interdisciplinary study of various textual interventions into the military realities of the late Elizabethan period.
1590s Drama and Militarism is a fascinating interdisciplinary study of various textual interventions into the military realities of the late Elizabethan period.
Cavendish and Shakespeare, Interconnections explores the relationship between the plays of William Shakespeare and the writings of Margaret Cavendish, Duchess of Newcastle (1623-1673).
Cavendish and Shakespeare, Interconnections explores the relationship between the plays of William Shakespeare and the writings of Margaret Cavendish, Duchess of Newcastle (1623-1673).
In uncovering the origin of the designation 'University Wits', Bob Logan examines the characteristics of the Wits and their influence on the course of Elizabethan drama.
In uncovering the origin of the designation 'University Wits', Bob Logan examines the characteristics of the Wits and their influence on the course of Elizabethan drama.
Despite the outpour of interpretations, from critics of all schools, on Shakespeare's dramatic works and other poetic works, A Lover's Complaint has been almost totally ignored by criticism.
Despite the outpour of interpretations, from critics of all schools, on Shakespeare's dramatic works and other poetic works, A Lover's Complaint has been almost totally ignored by criticism.
This collection of essays makes an important contribution to scholarship by examining how the myths and practices of medical knowledge were interwoven into popular entertainment on the early modern stage.
This collection of essays makes an important contribution to scholarship by examining how the myths and practices of medical knowledge were interwoven into popular entertainment on the early modern stage.
