Download e-book for iPad: A Companion to Shakespeare's Works, Volume 1: The Tragedies by Richard Dutton, Jean E. Howard

By Richard Dutton, Jean E. Howard

ISBN-10: 0470996536

ISBN-13: 9780470996539

ISBN-10: 063122632X

ISBN-13: 9780631226321

The four-volume Companion to Shakespeare's Works, compiled as a unmarried entity, bargains a uniquely finished photo of present Shakespeare feedback. This quantity appears at Shakespeare’s tragedies.

  • Contains unique essays on each Shakespearean tragedy from Titus Andronicus to Coriolanus.
  • Includes 13 extra essays on such issues as Shakespeare's Roman tragedies, Shakespeare's tragedies on movie, Shakespeare's tragedies of affection, Hamlet in functionality, and tragic emotion in Shakespeare.
  • Brings jointly new essays from a various, foreign team of students.
  • Complements David Scott Kastan's A significant other to Shakespeare (1999), which occupied with Shakespeare as an writer in his old context.
  • Offers a provocative roadmap to Shakespeare reviews.

Chapter 1 “A rarity so much beloved”: Shakespeare and the assumption of Tragedy (pages 5–22): David Scott Kastan
Chapter 2 The Tragedies of Shakespeare's Contemporaries (pages 23–46): Martin Coyle
Chapter three Minds in corporation: Shakespearean Tragic feelings (pages 47–72): Katherine Rowe
Chapter five The Divided Tragic Hero (pages 73–94): Catherine Belsey
Chapter five Disjointed instances and Half?Remembered Truths in Shakespearean Tragedy (pages 95–108): Philippa Berry
Chapter 6 studying Shakespeare's Tragedies of affection: Romeo and Juliet, Othello, and Antony and Cleopatra in Early glossy England (pages 108–133): Sasha Roberts
Chapter 7 Hamlet Productions Starring Beale, Hawke, and Darling From the point of view of functionality historical past (pages 134–157): Bernice W. Kliman
Chapter eight textual content and Tragedy (pages 158–177): Graham Holderness
Chapter nine Shakespearean Tragedy and spiritual identification (pages 178–198): Richard C. McCoy
Chapter 10 Shakespeare's Roman Tragedies (pages 199–218): Gordon Braden
Chapter eleven Tragedy and Geography (pages 219–240): Jerry Brotton
Chapter 12 vintage movie types of Shakespeare's Tragedies: A reflect for the days (pages 241–261): Kenneth S. Rothwell
Chapter thirteen modern movie models of the Tragedies (page 262): Mark Thornton Burnett
Chapter 14 Titus Andronicus: A Time for Race and Revenge (pages 284–302): Ian Smith
Chapter 15 “There isn't any global with no Verona walls”: the town in Romeo and Juliet (pages 303–318): Naomi Conn Liebler
Chapter sixteen “He that thou knowest thine”: Friendship and repair in Hamlet (pages 319–338): Michael Neil
Chapter 17 Julius Caesar (pages 339–356): Rebecca W. Bushnell
Chapter 18 Othello and the matter of Blackness (pages 357–374): Kim F. Hall
Chapter 19 King Lear (pages 375–392): Kiernan Ryan
Chapter 20 Macbeth, the current, and the earlier (pages 393–410): Kathleen McLuskie
Chapter 21 The Politics of Empathy in Antony and Cleopatra: A View from less than (pages 411–429): Jyotsna G. Singh
Chapter 22 Timon of Athens: The Dialectic of Usury, Nihilism, and artwork (pages 430–451): Hugh Grady
Chapter 23 Coriolanus and the Politics of Theatrical excitement (pages 452–472): Cynthia Marshall

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Extra resources for A Companion to Shakespeare's Works, Volume 1: The Tragedies

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Here is tragedy as a theatrical skill intended to keep the audience guessing what will happen next in terms of surprise and irony. 48) of punishment for Andrea’s foes. The labyrinth of plot and counter-plot in The Spanish Tragedy establishes the revenge tragedy play as a formula that could be quarried, copied, parodied, added to but not ignored. Much of Renaissance drama, indeed, becomes a rewriting of Kyd’s enormously popular play. That popularity may, in part, be a function of its structure: the multiple plot and choric framing allow the audience sufficient distance to see the issues the play raises about justice, the operation of the law, the duty of government and the rights of citizens from a series of perspectives so that the action on stage becomes endlessly fascinating (Kinney 1999: 51).

Shakespeare’s Tragic Sequence. London: Hutchinson. Neill, M. (1997). Issues of Death: Mortality and Identity in the Drama of Shakespeare and his Contemporaries. Oxford: Clarendon Press. Nuttall, A. D. (1996). Why Does Tragedy Give Pleasure? Oxford: Clarendon Press. Phillips, A. (2000). Promises, Promises: Essays on Psychoanalysis and Literature. London: Faber and Faber. Pleynet, M. (1968). Théorie d’ensemble. Paris: Seuil. Poole, A. (1987). Tragedy: Shakespeare and the Greek Example. Oxford: Blackwell.

But, in addition, in Kyd and in Arden there is a new interest in how to explore and exploit the dramatic space between the beginning and the end of tragedy, and, implicitly, with that new interest come new ideas about what happens in a tragedy. Those ideas attracted the criticism of Puritan writers such as Philip Stubbes in his Anatomie of Abuses (1583), denouncing the immoral excesses of the stage. Significantly, at the end of Arden the Franklin describes the play as a “naked tragedy,” one without adornment or glamor.

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A Companion to Shakespeare's Works, Volume 1: The Tragedies by Richard Dutton, Jean E. Howard

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