ShakespeareEdinburgh University Press, 2007 - 282 pages Edinburgh Critical Guides to Literature Series Editors: Martin Halliwell and Andy Mousley This series provides accessible yet provocative introductions to a wide range of literatures. The volumes will initiate and deepen the reader's understanding of key literary movements, periods and genres, and consider debates that inform the past, present and future of literary study. Resources such as glossaries of key terms and details of archives and internet sites are also provided, making each volume a comprehensive critical guide. Shakespeare (Edinburgh Critical Guides to Literature Series) Gabriel Egan This book helps the reader make sense of the most commonly studied writer in the world. It starts with a brief explanation of how Shakespeare's writings have come down to us as a series of scripts for actors in the early modern theatre industry of London. The main chapters of the book approach the texts through a series of questions: 'what's changed since Shakespeare's time?', 'to what uses has Shakespeare been put?', and 'what value is there in Shakespeare?' These questions go to the heart of why we study Shakespeare at all, which question the book encourages the readers to answer for themselves in relation to their own critical writing. Key Features * A chronology of Shakespeare's career as an actor/dramatist that locates him within the theatre industry of his time * New readings of twelve plays that form a core of the Shakespeare canon: A Midsummer Night's Dream, Much Ado About Nothing, Richard 2, Henry 5, Hamlet, Othello, All's Well that Ends Well, The Winter's Tale, Macbeth, Measure for Measure, The Tempest, and Timon of Athens * Critical analyses organized by genre (comedies, histories, tragedies, and romance) and by four key critical approaches: authorship, performance, identities, and materialism * An extensive resources section, including a glossary of the i |
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Page 66
... later plays . Only , as we have seen , they are not the later plays , they were written earlier . The order of composi– tion would seem to disrupt the neat , religious explanation of what is happening with English history in ...
... later plays . Only , as we have seen , they are not the later plays , they were written earlier . The order of composi– tion would seem to disrupt the neat , religious explanation of what is happening with English history in ...
Page 175
... later . The same puzzling beginning also delays telling the audience who this woman with the singing boy is , and then this woman and another go offstage for about eighteen seconds to discuss an intricate decep- tion that they are going ...
... later . The same puzzling beginning also delays telling the audience who this woman with the singing boy is , and then this woman and another go offstage for about eighteen seconds to discuss an intricate decep- tion that they are going ...
Page 241
... later , and that this is a means by which early societies were bound together . Traces of this reciprocal binding are visible in modern societies - who has not sent a last - minute Christmas card to someone from whom they unexpectedly ...
... later , and that this is a means by which early societies were bound together . Traces of this reciprocal binding are visible in modern societies - who has not sent a last - minute Christmas card to someone from whom they unexpectedly ...
Contents
Introduction | 1 |
A Midsummer Nights Dream | 19 |
Richard 2 and Henry 5 | 46 |
Copyright | |
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