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Modernity between Wagner and Nietzsche analyzes the operas and writings of Wagner in order to prove that the ideas on which they are based contradict and falsify the values that are fundamental to modernity. This book also analyzes the ideas that are central to the philosophy of Nietzsche, demonstrating that the values on the basis of which he breaks with Wagner and repudiates their common mentor, Schopenhauer, are those fundamental to modernity. Brayton Polka makes use of the critical distinction that Kierkegaard draws between Christianity and Christendom. Christianity represents what Nietzsche calls the faith that is presupposed in unconditionally willing the truth in saying yes to life. Christendom, in contrast, represents the bad faith of nihilism in saying no to life. Polka then shows that Wagner, in following Schopenhauer, represents Christendom with the demonstration in his operas that life is nothing but death and death is nothing but life. In other words, the purpose of the will for Wagner is to annihilate the will, since it is only in and through death that human beings are liberated from life as willfully sinful. Nietzsche, in contrast, is consistent with the biblical concept that existence is created from nothing, from nothing that is not made in the image of God, that any claim that the will can will not to will is contradictory and hence false. For not to will is, in truth, still to will nothing. There is then, Nietzsche shows, no escape from the will. Either human beings will the truth in saying yes to life as created from nothing, or in truly willing nothing, they say no to life in worshiping the God of Christendom who is dead.
With its roots deep in ancient narrative and in various reworkings from the late medieval and early modern period, Shakespeare’s Romeo and Juliet has left a lasting trace on modern European culture. This volume aims to chart the main outlines of this reception process in the broadest sense by considering not only critical-scholarly responses but also translations, adaptations, performances and various material and digital interventions which have, from the standpoint of their specific local contexts, contributed significantly to the consolidation of Romeo and Juliet as an integral part of Europe’s cultural heritage. Moving freely across Europe’s geography and history, and reflecting an awareness of political and cultural backgrounds, the volume suggests that Shakespeare’s tragedy of youthful love has never ceased to impose itself on us as a way of articulating connections between the local and the European and the global in cases where love and hatred get in each other’s way. The book is concluded by a selective timeline of the play’s different materialisations.
The Classic Tale...Eighteen-year-old Juliet is betrothed to Paris, a rich and arrogant relative to royalty. Across town, Romeo is in love with the beautiful Rosaline who treats him like dirt. Romeo and Juliet both dream of sex and love in the midst of their unhappiness.One Fateful Night...During a masquerade ball, Romeo and Juliet meet for the first time, changing both of their lives forever. Without exchanging names, they are drawn to one another. Ready to live out their wild fantasies of love and ecstasy together.A Bitter Feud...After the lovers learn they are from rival families, they strive forward, putting their faith in love and lust. With the help of a kinky best friend and a nurse with a secret sexual hunger, will Romeo and Juliet finally find their happy ending?50 Shades of Shakespeare...This adult adaptation of the iconic Shakespeare play is not for children. It is for those who find poetry in erotic fantasies. It goes beyond the classic romance to find the dark desires in each and every one of us.Join us in Verona, where families and bodies collide...The Tragic Foreplay of Romeo and Juliet is approximately 38,000 words and more than 100 paper pages long. M.A. DeWitt is the pen name of an author who has written 30 books in various genres.
This book provides a bridge between Shakespeare studies and classical social theory, opening up readings of Shakespeare to a new audience outside of literary studies and the humanities. Shakespeare has long been known as a “great thinker” and this book reads his plays through the lens of an anthropologist, revealing new connections between Shakespeare’s plays and the lives we now lead. Close readings of a selection of frequently studied plays—Hamlet, The Winter’s Tale, Romeo and Juliet, A Midsummer Night’s Dream, Julius Caesar, and King Lear—engage with the texts in detail while connecting them with some of the biggest questions we all ask ourselves, about love, friendship, ritual, language, human interactions, and the world around us. The plays are examined through various social theories including performance theory, cognitive theory, semiotics, exchange theory, and structuralism. The book concludes with a consideration of how “the new astronomy” of his day and developments in optics changed the very idea of “perspective,” and shaped Shakespeare’s approach to embedding social theory in his dramatic texts. This accessible and engaging book will appeal to those approaching Shakespeare from outside literary studies but will also be valuable to literature students approaching Shakespeare for the first time, or looking for a new angle on the plays.
This book explores Shakespeare films as interpretations of Shakespeare's plays as well as interpreting the place of Shakespeare on screen within the classroom and within the English curriculum. Shakespeare on screen is evaluated both in relation to the play texts and in relation to the realms of popular film culture. The book focuses on how Shakespeare is manipulated in film and television through the representation of violence, gender, sexuality, race and nationalism. Cartmell discusses a wide range of films, including Orson Welles' Othello (1952), Kenneth Branagh's Much Ado About Nothing (1993), Peter Greenaway's Prospero's Books (1991), Baz Luhrmann's William Shakespeare's Romeo and Juliet (1996) and John Madden's Shakespeare in Love (1998).
Spectacular Shakespeare includes an introduction, nine essays, and an afterword that all address the spectacle of Shakespeare in recent Hollywood films. The essays approach the Shakespeare-as-star phenomenon from various perspectives, some applauding the popularization of the Bard, others critically questioning the appropriation of Shakespeare in contemporary mass culture.
The Routledge Companion to Actors’ Shakespeare is a window onto how today’s actors contribute to the continuing life and relevance of Shakespeare’s plays. The process of acting is notoriously hard to document, but this volume reaches behind famous performances to examine the actors’ craft, their development and how they engage with playtexts. Each chapter relies upon privilieged access to its subject to offer an unparalleled insight into contemporary practice. This volume explores the techniques, interpretive approaches and performance styles of the following actors: Simon Russell Beale, Sinead Cusack, Judi Dench, Kate Duchene, Colm Feore, Mariah Gale, John Harrell, Greg Hicks, Rory Kinnear, Kevin Kline, Adrian Lester, Marcelo Magni, Ian McKellen, Patrice Naiambana, Vanessa Redgrave, Piotr Semak, Anthony Sher, Jonathan Slinger, Kate Valk, Harriet Walter This twin volume to The Routledge Companion to Directors’ Shakespeare is an essential work for both actors and students of Shakespeare.
“Imagine if you will that Mel Brooks has written an erotic parody of Romeo and Juliet and you'll pretty much have this book,” Rina Lee, 5-star review. “This is NOT your mother's Shakespeare version of 'Romeo and Juliet' … it's BETTER!” Jackie, 5-star review. “I wonder if Bill Shakespeare is turning over in his grave or laughing – I think the latter,” Bill, 5-star review.Eighteen-year-old Juliet is betrothed to Paris, a rich and arrogant relative to royalty with a mouth as dirty as his mind. Her only saving grace is a collection of vibrators and other stimulating toys manufactured by the mysterious R. Across town, Romeo, the mysterious sex-toy scientist himself, is in love with the beautiful Rosaline who treats him like crap. After an anonymous night of passion, Romeo and Juliet learn they are from rival families. With the help of a slutty best friend and a nurse with a secret sexual torture chamber, will Romeo and Juliet finally find their happy ending?Fifty Shades of Romeo and Juliet is an erotic parody that is approximately 38,000 words and more than 100 paper pages long. M.A. DeWitt has written more than 30 books in various genres.
"Libretto-bashing has a distinguished tradition in the blood sport of opera," writes Arthur Groos in the introduction to this broad survey of critical approaches to that much-maligned genre. To examine, and to challenge, the long-standing prejudice against libretti and the scholarly tradition that has, until recently, reiterated it, Groos and Roger Parker have commissioned thirteen stimulating essays by musicologists, literary critics, and historians. Taken as a whole, the volume demonstrates that libretti are now very much within the purview of contemporary humanistic scholarship. Libretti pose questions of intertextuality, transposition of genre, and reception history. They invite a broad spectrum of contemporary reading strategies ranging from the formalistic to the feminist. And as texts for music they raise issues in the relation between the two mediums and their respective traditions. Reading Opera will be of value to anyone with a serious interest in opera and contemporary opera criticism. The essays cover the period from the early nineteenth to the early twentieth centuries, with a particular focus on works of the later nineteenth century. The contributors are Carolyn Abbate, William Ashbrook, Katherine Bergeron, Caryl Emerson, Nelly Furman, Sander L. Gilman, Arthur Groos, James A. Hepokoski, Jurgen Maehder, Roger Parker, Paul Robinson, Christopher Wintle, and Susan Youens. Originally published in 1988. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Few writers have a deeper understanding of the foibles of human nature and life’s absurdities and tragedies than William Shakespeare. This makes him a fascinating companion for the season of Lent, a traditional time for a spot of self-examination. This engaging, wise and often amusing Lent book sets quotations from Shakespeare’s characters and poems alongside biblical passages and reflects on the resonance between them – one reflection for each day of the season. It starts with dust on Ash Wednesday (‘Golden lads and girls all must, As chimney-sweepers, come to dust’, from Cymbeline) and ends with resurrection as Easter Sunday approaches (‘It is required you do awake your faith’, from The Winter’s Tale). In between, it considers many rich spiritual themes: mercy, love, loyalty, trust, good vs evil, guilt, forgiveness, ageing, grief, death, hope and more. Each day’s reflection opens with a quotation from Shakespeare and explores its ideas in conversation with the Bible and Christian thought.