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Author: William Shakespeare
Publisher:
ISBN:
Category :
Languages : en
Pages : 524
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Book Description
Author: William Shakespeare
Publisher:
ISBN:
Category :
Languages : en
Pages : 524
Get Book Here
Book Description
Author: William Shakespeare
Publisher:
ISBN:
Category :
Languages : en
Pages : 136
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Book Description
Author: William Shakespeare
Publisher:
ISBN:
Category :
Languages : en
Pages : 510
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Book Description
Author: William Shakespeare
Publisher: Oxford University Press
ISBN: 0199591156
Category : Drama
Languages : en
Pages : 3393
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Book Description
In one attractive volume, the Modern Critical Edition gives today's students and playgoers the very best resources they need to understand and enjoy all Shakespeare's works. The authoritative text is accompanied by extensive explanatory and performance notes, and innovative introductory materials which lead the reader into exploring questions about interpretation, textual variants, literary criticism, and performance, for themselves
Author: William Shakespeare
Publisher:
ISBN:
Category :
Languages : en
Pages : 493
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Book Description
Author: Gary Taylor
Publisher: Oxford University Press
ISBN: 0192517600
Category : Literary Criticism
Languages : en
Pages : 776
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Book Description
This companion volume to The New Oxford Shakespeare: The Complete Works concentrates on the issues of canon and chronology--currently the most active and controversial debates in the field of Shakespeare editing. It presents in full the evidence behind the choices made in The Complete Works about which works Shakespeare wrote, in whole or part. A major new contribution to attribution studies, the Authorship Companion illuminates the work and methodology underpinning the groundbreaking New Oxford Shakespeare, and casts new light on the professional working practices, and creative endeavours, of Shakespeare and his contemporaries. We now know that Shakespeare collaborated with his literary and dramatic contemporaries, and that others adapted his works before they reached printed publication. The Authorship Companion's essays explore and explain these processes, laying out everything we currently know about the works' authorship. Using a variety of different attribution methods, The New Oxford Shakespeare has confirmed the presence of other writers' hands in plays that until recently were thought to be Shakespeare's solo work. Taking this process further with meticulous, fresh scholarship, essays in the Authorship Companion show why we must now add new plays to the accepted Shakespeare canon and reattribute certain parts of familiar Shakespeare plays to other writers. The technical arguments for these decisions about Shakespeare's creativity are carefully laid out in language that anyone interested in the topic can understand. The latest methods for authorship attribution are explained in simple but accurate terms and all the linguistic data on which the conclusions are based is provided. The New Oxford Shakespeare consists of four interconnected publications: the Modern Critical Edition (with modern spelling), the Critical Reference Edition (with original spelling), a companion volume on Authorship, and an online version integrating all of this material on OUP's high-powered scholarly editions platform. Together, they provide the perfect resource for the future of Shakespeare studies.
Author: William Shakespeare
Publisher:
ISBN:
Category :
Languages : en
Pages : 524
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Book Description
Author: Lena Cowen Orlin
Publisher: Oxford University Press
ISBN: 0192846302
Category : Biography & Autobiography
Languages : en
Pages : 447
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Book Description
Breathes new life into Shakespeare's story by establishing fresh interpretations of his baptism; evidence pertaining to his father; his wedding; his home; his will; and his monument.
Author: Horace Howard Furness
Publisher: Franklin Classics Trade Press
ISBN: 9780343824600
Category :
Languages : en
Pages : 506
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Book Description
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Author: Brian Vickers
Publisher: Harvard University Press
ISBN: 0674970330
Category : Literary Criticism
Languages : en
Pages : 412
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Book Description
King Lear exists in two different texts: the Quarto (1608) and the Folio (1623). Because each supplies passages missing in the other, for over 200 years editors combined the two to form a single text, the basis for all modern productions. Then in the 1980s a group of influential scholars argued that the two texts represent different versions of King Lear, that Shakespeare revised his play in light of theatrical performance. The two-text theory has since hardened into orthodoxy. Now for the first time in a book-length argument, one of the world’s most eminent Shakespeare scholars challenges the two-text theory. At stake is the way Shakespeare’s greatest play is read and performed. Sir Brian Vickers demonstrates that the cuts in the Quarto were in fact carried out by the printer because he had underestimated the amount of paper he would need. Paper was an expensive commodity in the early modern period, and printers counted the number of lines or words in a manuscript before ordering their supply. As for the Folio, whereas the revisionists claim that Shakespeare cut the text in order to alter the balance between characters, Vickers sees no evidence of his agency. These cuts were likely made by the theater company to speed up the action. Vickers includes responses to the revisionist theory made by leading literary scholars, who show that the Folio cuts damage the play’s moral and emotional structure and are impracticable on the stage.
