Download Free Shakespeare Jahrbuch 122 Book in PDF and EPUB Free Download. You can read online Shakespeare Jahrbuch 122 and write the review.

This is the first collection of criticism on Shakespeare's romances to register the impact of modern literary theory on interpretations of these plays. Kiernan Ryan brings together the most important recent essays on Pericles, Cymbeline, The Winter's Tale and The Tempest, the greatest of the `last plays', staging a dynamic debate between feminist, poststructuralist, psychoanalytic and new historicist views of the masterpieces Shakespeare wrote at the close of his career. The book aims not only to anthologise accounts of the last plays by leading Shakespearean critics, including Stephen Greenblatt, Janet Adelman, Leah Marcus, Howard Felperin and Steven Mullaney, but also to dramatise what is at stake in the choice of a particular critical approach. It allows the student to compare the strengths and limitations of a deconstructive and a feminist reading of the same romance, or to test the plausibility of one psychoanalytic angle on the last plays against another. The headnotes that preface the essays highlight their distinctive slants on Shakespearean romance, unpack the theoretical assumptions that steer their interpretations, and throw into relief the key points at which their authors collide or converge. The editor's introduction places the essays in the context of twentieth-century criticism of the last plays and makes a powerful case for a fundamental reappraisal of Shakespearean romance. The comprehensive, fully annotated bibliography provides an unrivalled guide to further reading on all four plays.
Shakespeare has been a central figure in German literature and theatre. This book tells the story of Shakespeare in the German-speaking theatre against the background of German culture and politics in the twentieth century. It follows the earlier volume by Simon Williams on the reception of Shakespeare during the previous 300 years (Shakespeare on the German Stage, 1586-1914). Hortmann concentrates on the two most important and fruitful periods: the years of the Weimar Republic (1919-1933) and the turbulent decades of the sixties and seventies, when the German theatre was revitalised by a stormy marriage of avant-garde art and revolutionary politics. A section by Maik Hamburger covers developments in the theatres of the German Democratic Republic. Hortmann focuses on the most representative and colourful directors and actors, describing and illustrating individual productions as examples of particular trends or movements.
This is the first new collection of criticism on Shakespeare's romances to appear for 20 years, bringing together the most important recent essays on Pericles, Cymbeline, The Winter's Tale and The Tempest.
First published in 1987. The essays in Shakespeare Reproduced offer a political critique of Shakespeare's writings and the uses to which those writings are put Some of the essays focus on Shakespeare in his own time and consider how his plays can be seen to reproduce or subvert the cultural orthodoxies and the power relations of the late Renaissance. Others examine the forces which have produced an overtly political criticism of Shakespeare and of his use in culture. Contributors include: Jean E Howard and Marion O'Connor, Walter Cohen, Don E Wayne, Thomas Cartelli, Peter Erickson, Karen Newman, Thomas Moisan, Michael D Bristol, Thomas Sorge, Jonathan Goldberg, Robert Weimann, Margaret Ferguson.
Shakespearean Temporalities addresses a critical neglect in Early Modern Performance and Shakespeare Studies, revising widely prevailing and long-standing assumptions about the performance and reception of history on the early modern stage. Demonstrating that theatre, at the turn of the seventeenth century, thrived on an intense fascination with perceived tensions between (medieval) past and (early modern) present, this volume uncovers a dimension of historical drama that has been largely neglected due to a strong focus on nationhood and a predilection for ‘topical’ readings. It moreover reassesses genre conventions by venturing beyond the threshold of the supposed "death of the history play," in 1603. Closely analysing a broad range of Shakespeare’s historical drama, it explores the dramatic techniques that allow the theatre to perform historical distance. An experience of historical contingency through an immersion in a world ontologically related yet temporally removed is thus revealed as a major appeal of historical drama and a striking aspect of Shakespeare’s history plays. With a focus on performance, the experience of playgoers, and the dynamics that resulted from the collective production of dramatic historiography by competing companies, the book offers the first analysis of what can be referred to as Shakespeare’s dramaturgy of historical temporality.
Shakespeare and Textual Studies gathers contributions from the leading specialists in the fields of manuscript and textual studies, book history, editing, and digital humanities to provide a comprehensive reassessment of how manuscript, print and digital practices have shaped the body of works that we now call 'Shakespeare'. This cutting-edge collection identifies the legacies of previous theories and places special emphasis on the most recent developments in the editing of Shakespeare since the 'turn to materialism' in the late twentieth century. Providing a wide-ranging overview of current approaches and debates, the book explores Shakespeare's poems and plays in light of new evidence, engaging scholars, editors, and book historians in conversations about the recovery of early composition and publication, and the ongoing appropriation and transmission of Shakespeare's works through new technologies.
This remarkable study shows how prologues ushered audience and actors through a rite of passage and how they can be seen to offer rich insight into what the early modern theatre was thought capable of achieving.
Selection of sixteen provocative and stimulating essays on the complex subject of Shakespeare and politics.
Recent work in Shakespeare studies has brought to the forefront a variety of ways in which the collaborative nature of Shakespearean drama can be investigated: collaborative performance (Shakespeare and his fellow actors); collaborative writing (Shakespeare and his co-authors); collaborative textual production (Shakespeare and his transcribers and printers). What this leaves unaccounted for is the form of collaboration that affects more than any other our modern reading experience of Shakespeare's plays: what we read as Shakespeare now always comes to us in the form of a collaborative enterprise - and is decisively shaped by the nature of the collaboration - between Shakespeare and his modern editors. Contrary to much recent criticism, this book suggests that modern textual mediators have a positive rather than negative role: they are not simply 'pimps of discourse' or cultural tyrants whose oppressive interventions we need to 'unedit' but collaborators who can decisively shape and enable our response to Shakespeare's plays. Erne argues that any reader of Shakespeare, scholar, student, or general reader, approaches Shakespeare through modern editions that have an endlessly complicated and fascinating relationship to what Shakespeare may actually have intended and written, that modern editors determine what that relationship is, and that it is generally a very good thing that they do so.
Reprint of the original, first published in 1876.