Shakespeare Survey: Volume 67, Shakespeare's Collaborative Work
Shakespeare Survey: Volume 67, Shakespeare's Collaborative Work
Cambridge University Press
10/2014
532
Dura
Inglês
9781107071544
1200
Descrição não disponível.
1. Why did Shakespeare collaborate? Gary Taylor; 2. What is not collaborative about early modern drama in performance and print? Gabriel Egan; 3. Framing Shakespeare's collaborative authorship Will Sharpe; 4. Collaboration and proprietary authorship: Shakespeare, et al. Trevor Cook; 5. Topical Shakespeare Barry Langston; 6. Shakespeare after all?: the authorship of Titus Andronicus 4.1 reconsidered William Weber; 7. A Shakespeare/North collaboration: Titus Andronicus and Titus and Vespasian Dennis McCarthy and June Schlueter; 8. The two authors of Edward III Brian Vickers; 9. Shakespeare, poetic collaboration, and The Passionate Pilgrim Francis Connor; 10. Contextualizing 'The Phoenix and Turtle': Shakespeare, Edward Blount, and the poetical essays group of Love's Martyr James P. Bednarz; 11. Shakespeare's singularity and Sir Thomas More James Purkis; 12. Double Falsehood: the forgery hypothesis, the 'Charles Dickson' enigma and a 'stern' rejoinder Brean Hammond; 13. Nostalgic spectacle and the politics of memory in Henry VIII Isabel Karremann; 14. Royal entries and the form of pageantry in All Is True Roderick McKeown; 15. Acting historical with Shakespeare, or, William-Henry Ireland's Oaken Chest Ellen MacKay; 16. Re-cognizing Shakespearean tragedy Arthur Kinney; 17. Shakespeare's literature of exhaustion Stephan Laque; 18. Big-shouldered Shakespeare: three Shrews at Chicago Shakespeare Theater L. Monique Pittman; 19. Why Ganymede faints and the Duke of York weeps: passion plays in Shakespeare Sujata Iyengar; 20. The National Theatre of Greece's The Merchant of Venice (1945) and the silencing of the Holocaust Tina Krontiris; 21. Cinnas of memory Julia Griffin; 22. The measure of sexual memory Stephen Spiess; 23. Othello across borders: on an interlocal and intermedial exercise Rui Carvalho Homem; 24. John Berryman's emendation of King Lear 4.1.10 and Shakespeare's scientific knowledge B. J. Sokol; 25. Spectacle, representation, and lineage in Macbeth 4.1 William C. Carroll; 26. 'Pleasing strains': the dramaturgical role of music in The Winter's Tale Simon Smith; 27. Confinement and freedom in The Tempest Leslie Thomson; 28. Shakespeare performances in England 2013 Carol Chillington Rutter; 29. Professional Shakespeare productions in the British Isles, January-December 2012 James Shaw; The year's contribution to Shakespeare studies: 1. Critical studies Charlotte Scott; 2. Shakespeare in performance Russell Jackson; 3. Editions and textual studies Sonia Massai.
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1. Why did Shakespeare collaborate? Gary Taylor; 2. What is not collaborative about early modern drama in performance and print? Gabriel Egan; 3. Framing Shakespeare's collaborative authorship Will Sharpe; 4. Collaboration and proprietary authorship: Shakespeare, et al. Trevor Cook; 5. Topical Shakespeare Barry Langston; 6. Shakespeare after all?: the authorship of Titus Andronicus 4.1 reconsidered William Weber; 7. A Shakespeare/North collaboration: Titus Andronicus and Titus and Vespasian Dennis McCarthy and June Schlueter; 8. The two authors of Edward III Brian Vickers; 9. Shakespeare, poetic collaboration, and The Passionate Pilgrim Francis Connor; 10. Contextualizing 'The Phoenix and Turtle': Shakespeare, Edward Blount, and the poetical essays group of Love's Martyr James P. Bednarz; 11. Shakespeare's singularity and Sir Thomas More James Purkis; 12. Double Falsehood: the forgery hypothesis, the 'Charles Dickson' enigma and a 'stern' rejoinder Brean Hammond; 13. Nostalgic spectacle and the politics of memory in Henry VIII Isabel Karremann; 14. Royal entries and the form of pageantry in All Is True Roderick McKeown; 15. Acting historical with Shakespeare, or, William-Henry Ireland's Oaken Chest Ellen MacKay; 16. Re-cognizing Shakespearean tragedy Arthur Kinney; 17. Shakespeare's literature of exhaustion Stephan Laque; 18. Big-shouldered Shakespeare: three Shrews at Chicago Shakespeare Theater L. Monique Pittman; 19. Why Ganymede faints and the Duke of York weeps: passion plays in Shakespeare Sujata Iyengar; 20. The National Theatre of Greece's The Merchant of Venice (1945) and the silencing of the Holocaust Tina Krontiris; 21. Cinnas of memory Julia Griffin; 22. The measure of sexual memory Stephen Spiess; 23. Othello across borders: on an interlocal and intermedial exercise Rui Carvalho Homem; 24. John Berryman's emendation of King Lear 4.1.10 and Shakespeare's scientific knowledge B. J. Sokol; 25. Spectacle, representation, and lineage in Macbeth 4.1 William C. Carroll; 26. 'Pleasing strains': the dramaturgical role of music in The Winter's Tale Simon Smith; 27. Confinement and freedom in The Tempest Leslie Thomson; 28. Shakespeare performances in England 2013 Carol Chillington Rutter; 29. Professional Shakespeare productions in the British Isles, January-December 2012 James Shaw; The year's contribution to Shakespeare studies: 1. Critical studies Charlotte Scott; 2. Shakespeare in performance Russell Jackson; 3. Editions and textual studies Sonia Massai.
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