The Oxford Dictionary of Original Shakespearean Pronunciation

This dictionary is the first comprehensive description of Shakespearean original pronuniciation (OP), enabling practitioners to deal with any queries about the pronunciation of individual words. It includes all the words in the First Folio, transcribed using IPA, and the accompanying website hosts sound files to further aid pronunciation. 

The Elizabethan history play was one of the most prevalent dramatic genres of the 1590s, and so was a major contribution to Elizabethan historical culture. The genre has been well served by critical studies that emphasize politics and ideology; however, there has been less interest in the way history is interrogated as an idea in these plays. Drawing in period-sensitive ways on the field of contemporary performance theory, this book looks at the Shakespearean history play from a fresh angle, by first analyzing the foundational work of the Queen's Men, the playing company that invented the popular history play.

Where, when, and why did European Romantics take to Shakespeare? How about Shakespeare's reception in enduring Neoclassical or in popular traditions? And above all: which Shakespeare did these various groups promote? This collection of essays leaves behind the time-honoured commonplaces about Shakespearean translation (the 'translatability' of Shakespeare's forms and meanings, the issue of 'loss' and 'gain' in translation, the distinction between 'translation' and 'adaptation', translation as an 'art'. etc.) and joins modern Shakespearean scholarship in its attempt to lay bare the cultural mechanisms endowing Shakespeare's texts with their supposedly inherent meanings.

Shakespeare's Dramatic Transactions

DIVShakespeare’s Dramatic Transactions uses conventions of performance criticism—staging and theatrical presentation—to analyze seven major Shakespearean tragedies: Hamlet, Othello, King Lear, Macbeth, Antony and Cleopatra, Richard II, and Richard III. As scholars and readers increasingly question the theoretical models used to describe the concepts of “mimesis” and “representation,” this book describes how the actor’s stage presentation affects the actor’s representational role and the ways in which viewers experience Shakespearean tragedy

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Shakespeare's Festive Tragedy: The Ritual Foundations of Genre

In Shakespearean studies, the category of the festive has been applied by critics only to the comedies. In this groundbreaking and provocative work, Naomi Conn Liebler introduces the category of festive tragedy. Shakespearean tragedy is, she argues, a celebration of communal survival, demonstrating what happens when a community violates or neglects the ritual structures that define and preserve it