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This bibliography will give comprehensive coverage to published commentary in English on Shakespeare and the Classical Tradition during the period from 1961-1985. Doctoral dissertations will also be included. Each entry will provide a clear and detailed summary of an item's contents. For pomes and plays based directly on classical sources like Antony and Cleopatra and The Rape of Lucrece, virtually all significant scholarly work during the period covered will be annotated. For other works such as Hamlet, any scholarship that deals with classical connotations will be annotated. Any other bibliographies used in the compiling of this volume will be described with emphasis on their value to a student of Shakespeare and the Classics.
The best conception of love, Marcus Nordlund contends, and hence the best framework for its literary analysis, must be a fusion of evolutionary, cultural, and historical explanation. It is within just such a bio-cultural nexus that Nordlund explores Shakespeare’s treatment of different forms of love. His approach leads to a valuable new perspective on Shakespearean love and, more broadly, on the interaction between our common humanity and our historical contingency as they are reflected, recast, transformed, or even suppressed in literary works. After addressing critical issues about love, biology, and culture raised by his method, Nordlund considers four specific forms of love in seven of Shakespeare’s plays. Examining the vicissitudes of parental love in Titus Andronicus and Coriolanus, he argues that Shakespeare makes a sustained inquiry into the impact of culture and society upon the natural human affections. King Lear offers insight into the conflicted relationship between love and duty. In two problem plays about romantic love, Troilus and Cressida and All’s Well that Ends Well, the tension between individual idiosyncrasies and social consensus becomes especially salient. And finally, in Othello and The Winter’s Tale, Nordlund asks what Shakespeare can tell us about the dark avatar of jealousy.
Will & Love examines four of Shakespeare's love plays (Romeo and Juliet, Troilus and Cressida, Twelfth Night, and Antony and Cleopatra) in light of the Augustinian psychology at the heart of the theological romance tradition. This tradition, which Shakespeare inherits from medieval theologian-poets such as Boethius, Dante, Petrarch, and Chaucer, issues from the idea, initially expressed by Augustine in his Confessions, that love functions as volitional weight, as a kind of magnetism or almost-gravitational force--that it moves the lover in mysterious ways yet without diminishing his or her agency. Will & Love highlights Shakespeare's conception of love in terms of motion and explores the metaphysical, ethical, psychological, and dramatic implications of his doing so.
An examination of ideas and ideals of medieval courtly love and the transition into later Romantic love, analyzing the work of Dante, Shakespeare, and Schopenhauer, among many others. Review), "monumental" (Boston Globe), "one of the major works of philosophy in our century" (Nous), "wise and magisterial" (Times Literary Supplement), and a "masterpiece of critical thinking [that] is a timely, eloquent, and scrupulous account of what, after all, still makes the world go round" (Christian Science Monitor). In the second volume, Singer studies the ideas and ideals of medieval courtly love and nineteenth-century Romantic love, as well as the transition between these two perspectives. According to the traditions of courtly love in the twelfth century and thereafter, not only God but also human beings in themselves are capable of authentic love. The pursuit of love between man and woman was seen as a splendid ideal that ennobles both the lover and the beloved. It was something more than libidinal sexuality and involved sophisticated and highly refined courtliness that emulated religious love in its ability to create a holy union between the participants. Adherents to Romantic love in later centuries, affirmed the capacity of love to effect a merging between two people who thus became one. Singer analyzes the transition from courtly to Romantic by reference to the writings of many artists beginning with Dante and ending with Richard Wagner, as well as Neoplatonist philosophers of the Italian Renaissance, Descartes, Spinoza, Rousseau, Hume, Kant, Hegel, and Schopenhauer. In relation to romanticism itself, he distinguishes between two aspects—"benign romanticism" and "Romantic pessimism"—that took on renewed importance in the twentieth century.
This New Casebook offers a wide-ranging selection of contemporary critical readings of Shakespeare's three 'problem plays': All's Well that Ends Well, Measure for Measure and Trolius and Cressida. Together, they reflect the diversity of late twentieth-century theory and the controversy that continues to be generated by the plays, and discuss a variety of key issues. These include the meaning of the term 'problem play', the historical context and political and cultural significance of the plays, as well as issues of staging and theatre history. The volume also provides a helpful introduction which guides the reader through the critical approaches, terms and debates, as well as explanatory notes for each essay and a useful section on further reading.
When Victor Cahn's Shakespeare the Playwright was issued in 1991, it was highly recommended for any general public library and for academic collections at all undergraduate levels (Choice) and viewed as a useful guide for the general reader, as well as high school and undergraduate students Library Journal. Now Professor Cahn has revised his introduction to make the context of Shakespeare's plays more meaningful to the beginning researcher and to show how the plays have been performed from the 16th century onward. In addition, the bibliographies for each of the 37 plays have been updated to include the best new research. These updates and revisions will enhance the use of this guide for the general reader, student, and researcher, from high school onward. Since their first production four centuries ago, the plays of William Shakespeare have been the most widely produced, popularly acclaimed, and critically examined works in the world's literature. In this unique book, Victor L. Cahn, an acclaimed teacher of drama, guides the reader scene by scene through each of Shakespeare's thirty-seven plays, re-creating the freshness and theatrical effect of performance. Cahn has based his approach on the assumption that the fundamental appeal of Shakespeare's plays lies in the characters, and with clarity and subtlety he focuses on how the implications of the characters' actions and the nuances of their language contribute to the plays' impact. The introduction briefly traces Shakespeare's life and career, and explains some of the social and artistic circumstances that influenced his work. The plays are grouped by genre: Tragedies, Histories, Comedies, and Romances. This structure allows Cahn to explore Shalespeare's development in all four dramatic forms, as well as to suggest relationships between characters, themes, and images throughout the works. In addition, Cahn discusses the plays as reflective of Shakespeare's age, particularly the Renaissance concern with the tension between individual rights and social responsibility. The text is free from extensive scholarly apparatus, but valuable suggestions for further reading follow the analysis of each play, and a selected bibliography concludes the volume. The comprehensiveness of the book, as well as the accessibility and quality of its interpretations, make it a valuable resource for courses in Shakespeare, drama, and British literature, and a worthy addition to high school, college, university, and public library reference collections.
This volume is a comprehensive overview of scholarship on this play. It includes chapters on criticism, sources and background, textual studies, bibliographies, editions, and translations. Also covered are the stage history and major productions of the play, and films, music, television, and adaptations and synopses.
"In his analysis, Marvin Rosenberg sets out to steer a path between the "extremes" of Rome and Egypt and all they stand for: and to explore the relentless "to and back" confrontation of their different sets of values which leads ultimately to destruction."