Shakespeare's works are now performed for an increasingly
diversified cultural market. At the start of the twenty-first century,
film, video, and live performance have overtaken the printed book as
the main way people are introduced to Shakespeare. Therefore, is there
any reason to read Shakespeare's plays anymore? The essays in this
volume explore the question and the institutional practices that shape
contemporary performances of Shakespeare's plays. The book gathers
together a particularly strong line-up of contributors from across the
literary-performative divide to examine the relationship between
Shakespeare, the "culture industries," modernism, and live performance.
The original CliffsNotes study guides offer expert commentary on major themes, plots, characters, literary devices, and historical background. The latest generation of titles in this series also feature glossaries and visual elements that complement the classic, familiar format.
In CliffsNotes on Shakespeare's Romeo and Juliet, you explore Shakespeare's greatest tragedy — the heartbreaking love story of Romeo and Juliet amid the conflict between their two feuding families, the Montagues and the Capulets.
This study guide carefully walks you through every twist and turn of Shakespeare's classic by providing chapter summaries and critical analyses of each act and scene of the play. You'll also explore the life and background of the "Bard" himself — William Shakespeare. Other features that help you study include
* Character analyses of major players
* A character map that graphically illustrates the relationships among the characters
* Critical essays
* The history of the play's development, as well as its first performance
* A review section that tests your knowledge
* A Resource Center full of books, articles, films, and Internet sites
The Oxford Companion To Shakespeare The Oxford Companion to Shakespeare is the most comprehensive reference work yet produced about Shakespeare's works, times, life, and afterlives. From the conjectured identity of the Dark Lady of the Sonnets to the misprints in the First Folio, from Shakespeare's favourite figures of speech to the staging of Othello in South Africa, a team of internationally renowned scholars provides a lucid, stimulating, and authoritative guide to the plays, the poems, and their interpretation around the world over the last four centuries. Bringing its readers up to date not only with the latest in Shakespearian scholarship and controversy but with the plays' most recent incarnations on stage, on film, and in international popular culture, this is the perfect companion to Shakespeare's works, covering everything from Aaron and act divisions to Zeffirelli and Zuccaro, and from Shakespeare in schools to Shakespeare in Love.
Shakespeare by Another Name: A Biography of Edward de Vere, Earl of Oxford, the Man Who Was Shakespeare By Mark Anderson
А что, если по поводу того, кто написал «Тихий Дон», будут спорить еще лет 500 ?
The idea that Shakespeare's plays were written by someone other than the Stratford actor has been around for centuries. Anderson, a contributor to Wired and Harper's, is only the latest to champion Edward de Vere, the 17th earl of Oxford, as the author of Shakespeare's works. The hypothesis rests chiefly on the charismatic de Vere's eventful life and times. De Vere came into his earldom early, after his father's unexpected death, and spent his childhood as a ward of Queen Elizabeth's chief minister, William Cecil, whom Anderson casts as Polonius to de Vere's Hamlet. Cecil provided de Vere with a first-rate education that prepared him for his travels in Italy and his short-lived success in Elizabeth's court, which the earl undermined by fighting with fellow courtier Philip Sidney, impregnating one of Elizabeth's maids-of-honor and general profligacy. Anderson slows down his account by constantly equating events and people in de Vere's life with almost every character and scene in Shakespeare's plays. The earl's inconvenient death in 1604, however, requires Anderson to explain away all contemporary references in the last phase of Shakespeare's output with the same vehemence with which he found earlier coded identifications. The anti-Stratford movement currently favors the Oxfordians, who will eat this up; others will find it hard to swallow.
Direct link
Без файлообменников.
