Teaching with Shakespeare: Critics in the ClassroomBruce McIver, Ruth Stevenson University of Delaware Press, 1994 - 269 pages "Today the number and nature of interpretive strategies developed by contemporary theorists for reading Shakespeare's texts may not only delight but also disconcert the scholars, critics, teachers, and students who study them. In this work, six leading Shakespearean scholar-critics, in a series of clear and elegant lectures delivered to undergraduate English majors, explain distinctive procedures that they and other influential, contemporary critics use for interpreting Shakespeare's poems and plays. Workshops, which illustrate with Shakespearean texts the practice of specific methods, follow the lectures." "Helen Vendler (Harvard) guides readers to Shakespeare's poetry by explaining and illustrating how to hear the unexpected and unobtrusive but crucial questions that sonnets pose, and by tracing the increasingly powerful perceptions that precise, informed aesthetic responses to these questions evoke. R. A. Foakes (UCLA) identifies basic cultural issues underlying traditional approaches to teaching Shakespeare's plays, especially the tragedies, and explains how poststructuralist responses to these issues lead to a reevaluation of the "Bard." Leah Marcus (U. Texas, Austin) also explains cultural issues, particularly about the "construct" that has become "Shakespeare," and introduces editorial questions about the actual textual versions offered to students, notably of Hamlet and King Lear. With emphasis on the plays in performance, John Wilders (Oxford, Middlebury) delivers a structure-oriented, acting-centered analysis of Julius Caesar and then directs, in similar fashion, a production of the first scene of A Midsummer Night's Dream. Patricia Parker (Stanford), on the other hand, follows intricate lines of wordplay through a series of deconstructions and reconstructions in The Merry Wives of Windsor and A Midsummer Night's Dream. Bringing the series to a close, Annabel Patterson (Duke) presents an explicitly issue-oriented analysis of editorial, critical, scholarly, dramatic, and cinematic interpretations of Henry V; and she offers a concluding commentary on the workshops of her colleagues."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved |
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Page 144
... stage , schoolboys in the women's roles and an auditorium lit throughout the performance so as to resemble the daylight of the Globe and other Elizabethan public theaters . The scene which most interested me was act 3 , scene 1 , the ...
... stage , schoolboys in the women's roles and an auditorium lit throughout the performance so as to resemble the daylight of the Globe and other Elizabethan public theaters . The scene which most interested me was act 3 , scene 1 , the ...
Page 153
... stage itself . It was through these two doors that the actors made their entrances and exits , so that as one group of actors was leaving the stage through one door , another group could enter through the other . There were no scene ...
... stage itself . It was through these two doors that the actors made their entrances and exits , so that as one group of actors was leaving the stage through one door , another group could enter through the other . There were no scene ...
Page 155
... stage . Up until the entrance of Egeus , Theseus and Hippolyta are entirely preoccupied with each other and with their forthcoming marriage . When Egeus appears , all attention shifts onto him and the primary relationship is between ...
... stage . Up until the entrance of Egeus , Theseus and Hippolyta are entirely preoccupied with each other and with their forthcoming marriage . When Egeus appears , all attention shifts onto him and the primary relationship is between ...
Contents
List of Figures | 9 |
The Merry | 17 |
Poems Posing Questions 2323 | 37 |
Copyright | |
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Teaching with Shakespeare: Critics in the Classroom Bruce McIver,Ruth Stevenson Limited preview - 1994 |
Teaching with Shakespeare: Critics in the Classroom Bruce McIver,Ruth Stevenson No preview available - 1994 |
Common terms and phrases
actors adjectives Antony audience blame bliss Branagh Caesar characters classroom Cordelia couplet cozening critics cultural cultural materialists daughter death Demetrius dramatic Duke edition Elizabethan English example extreme Falstaff father feel Folio version French Germans Goneril Goneril and Regan grammar Hamlet hath haue Helen Vendler Henry Hermia interpretation Jonathan Dollimore Julius Caesar Kent kind King Lear language Latin Lear's literary London look Lord lovers lust Lysander Marcus mean Merry Wives Midsummer Night's Dream moral night nouns Okay Oxford performance plot poem political poststructuralist Pyramus Pyramus and Thisbe Quarto version quatrain question Renaissance revenge scene sense Shakespeare's plays Shakespeare's sonnets soliloquy sonnet speak speech stage Stephen Booth Teaching Shakespeare textual theater thee there's Theseus thing ThinkPad Thisby thou tion translation University Press Vendler wall Wilders wordplay words