Godless Shakespeare (Shakespeare Now!) by Eric S. Mallin Book Summary:
Godless Shakespeare is the first book to discuss Shakespeare's plays from an atheist perspective. Although it is clear that Shakespeare engaged with and deployed much of his culture's broadly religious interests - his language is shot through with biblical quotations, priestly sermonizing and Christian imagery - Mallin argues that there is a profound absence of or hostility to God in his plays.Following Dante's three part structure for The Divine Comedy - Hell represents expressions of religious faith in Shakespeare's plays, Purgatory sets out more sceptical positions, and Heaven shows articulations of godlessness - Mallin traces a spiritual ascent from the unthinkingly devout to the atheistically spiritual. This polemical, vigorous account focuses on the moral and spiritual dilemmas of major characters, developing the often subtle transitions between belief, scepticism and atheism. Finally, Godless Shakespeare argues for the liberating potential of unbelief.
Shakespeare Today (Shakespeare Alive) by Jane Shuter Book Summary:
When the Chinese leader Wen Jiabao visited Britain in 2011 he said that Shakespeare was the greatest writer who ever lived. People all over the modern world recognize the image of his face and have heard of his plays. But why is he really so famous? This original book looks at how Shakespeare is interpreted and performed today, showing how Shakespeare's influence has stretched much further than the reading and stage performance of his works: into films, festivals, paintings, other media, and into the English language.
Was Shakespeare Shakespeare? A Lawyer Reviews the Evidence by Milward W. Martin Book Summary:
[Shakespeare, William] Martin, Milward W. Was Shakespeare Shakespeare ? - A Lawyer reviews the Evidence. New York, Cooper Square Publishers, 1965. Octavo. XII, 155 pages. Original Hardcover with unclipped dustjacket in protective Mylar. Excellent condition with only minor signs of external wear. Minor tear to the dustjacket only. Inscribed and signed by the author Milward W. Martin. Includes for example: The Lotus - Eaters of Anti-Stratfordia / The documents showing the long and intimate association between Shakespeare and Stratford / His will throws great and revealing light on the question of authorship / The First Folio / The cost of publishing the First Folio / The Stratford Documents / Inaccuracies with which the Anti-Stratfordians Clutter / It was Shakespeare of Stratford who was the author ! etc.
Shakespeare / Not Shakespeare (Reproducing Shakespeare) Book Summary:
This essay collection addresses the paradox that something may at once “be” and “not be” Shakespeare. This phenomenon can be a matter of perception rather than authorial intention: audiences may detect Shakespeare where the author disclaims him or have difficulty finding him where he is named. Douglas Lanier’s “Shakespearean rhizome,” which co-opts Deleuze and Guattari’s concept of artistic relations as rhizomes (a spreading, growing network that sprawls horizontally to defy hierarchies of origin and influence) is fundamental to this exploration. Essays discuss the fine line between “Shakespeare” and “not Shakespeare” through a number of critical lenses―networks and pastiches, memes and echoes, texts and paratexts, celebrities and afterlives, accidents and intertexts―and include a wide range of examples: canonical plays by Shakespeare, historical figures, celebrities, television performances and adaptations, comics, anime appropriations, science fiction novels, blockbuster films, gangster films, Shakesploitation and teen films, foreign language films, and non-Shakespearean classic films.
King Lear (Graphic Shakespeare) (Shakespeare Graphic Library) by William Shakespeare Book Summary:
Shakespeare has been called the greatest writer in the English language—but his language and settings can seem remote and forbidding. Welcome to Black Dog’s Graphic Shakespeare Library, where each play comes to life in a new way, panel after illustrated panel.King Lear is a story of kingship, honor, and bloody revenge. Graphic Shakespeare brings all of the action to vivid life while retaining every word of the original play. King Lear is illustrated in full color by Ian Pollack and includes a synopsis of the play, and an illustrated character list. It’s a marvelous way to experience Shakespeare for the first time—or the tenth—and is sure to be attractive to students and theatre fans alike.
Who Hears in Shakespeare?: Shakespeare’s Auditory World, Stage and Screen Book Summary:
This volume, examining the ways in which Shakespeare’s plays are designed for hearers as well as spectators, has been prompted by recent explorations of the auditory dimension of early modern drama by such scholars as Andrew Gurr, Bruce Smith, and James Hirsh. To look at the dynamics of hearing in Shakespeare’s plays involves a paradigm shift that changes how we understand virtually everything about them, from the architecture of the buildings, to playing spaces, to blocking, and to larger interpretative issues, including our understanding of character based on players’ responses to what they hear, mishear, or refuse to hear. Who Hears in Shakespeare? Auditory Worlds on Stageand Screen is comprised of three sections on Shakespeare’s texts and performance history: “The Poetics of Hearing and the Early Modern Stage”; “Metahearing: Hearing, Knowing, and Audiences, Onstage and Off”; and “Transhearing: Hearing, Whispering, Overhearing, and Eavesdropping in Film and Other Media.”Chapters by noted scholars explore the complex reactions and interactions of onstage and offstage audiences and show how Shakespearean stagecraft, actualized on stage and adapted on screen, revolves around various situations and conventions of hearing—soliloquies,, asides, avesdropping, overhearing, and stage whispers. In short, Who Hears in Shakespeare? enunciates Shakespeare’s nuanced, powerful stagecraft of hearing. The volume ends with Stephen Booth’s afterword, his inspiring meditation on hearing that considers Shakespearean “audiences” and their responses to what they hear—or don’t hear—in Shakespeare’s plays.
[(Shakespeare Survey: Shakespeare in the Modern World v.16)] [Edited by Allardyce Nicoll ] published on (November, 2002) by Allardyce Nicoll Book Summary:
Shakespeare Survey is a yearbook of Shakespeare studies and production. Since 1948 Survey has published the best international scholarship in English and many of its essays have become classics of Shakespeare criticism. Each volume is devoted to a theme, or play, or group of plays; each also contains a section of reviews of the previous year's textual and critical studies and of major British performances. The books are illustrated with a variety of Shakespearean images and production photographs. The current editor of Survey is Peter Holland. The first eighteen volumes were edited by Allardyce Nicoll, numbers 19-33 by Kenneth Muir and numbers 34-52 by Stanley Wells. The virtues of accessible scholarship and a keen interest in performance, from Shakespeare's time to our own, have characterised the journal from the start. For the first time, numbers 1-50 are being reissued in paperback, available separately and as a set.
Renaissance Shakespeare: Shakespeare Renaissances: Proceedings of the Ninth World Shakespeare Congress (The World Shakespeare Congress Proceedings) Book Summary:
Selected contributions to the Ninth World Shakespeare Congress, which took place in July 2011 in Prague, represent the contemporary state of Shakespeare studies in thirty-eight countries worldwide. Apart from readings of Shakespeare’s plays and poems, more than forty chapters map Renaissance contexts of his art in politics, theater, law, and material culture and discuss numerous cases of the impact of his works in global culture from the Americas to the Far East, including stage productions, book culture, translations, film and television adaptations, festivals, and national heritage. The last section of the book focuses on the afterlife of Shakespeare in the work of the leading British dramatist Tom Stoppard.
Double Falshood; or, The Distrest Lovers: A Play, as it is Now Acted at the Theatre Royal in Covent-Garden, Written Originally by W. Shakespeare ... - Shakespeare and Renaissance Drama) by William Shakespeare Book Summary:
Double Falshood was staged at the Theatre Royal in Drury Lane at the end of 1727, and the following year Lewis Theobald (1688-1744) published the text, which was reprinted several times. Theobald was an energetic editor who translated Sophocles' Electra and Aristophanes' Plutus for performance in London, wrote and edited many other dramatic works, and caused great controversy in literary circles with his Shakespeare Restored (1726), a critique of Pope's edition. Scholars have debated for nearly three centuries to what extent, if at all, Double Falshood derives from a lost play by Shakespeare, as Theobald claimed. There is now widespread agreement that it is the only surviving version of Shakespeare and Fletcher's Cardenio, which was based on episodes from Cervantes' Don Quixote and is known to have been performed in 1613. Interest generated by the play's partial acceptance into the Shakespearean canon has also led to modern revivals.
BRITANNIA AND BRITANNICA WALES - MAY 1961 / SHAKESPEARE - / shakespeare's life and age / the dramatist / Shakespeare at school / Shakespeare's first tragedy / Romeo and juliet / Hamlet, prince of Danemark / etc... by COLLECTIF Book Summary:
16 pages augmentées de nombreuses photos en noir et blanc dans le texte. Pages agrafées rouillées.