Shakespeare Survey 67
Herausgeber: Holland, Peter
Shakespeare Survey 67
Herausgeber: Holland, Peter
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The theme for Shakespeare Survey 67 is 'Shakespeare's Collaborative Work'.
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The theme for Shakespeare Survey 67 is 'Shakespeare's Collaborative Work'.
Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Produktdetails
- Produktdetails
- Verlag: Cambridge University Press
- Seitenzahl: 528
- Erscheinungstermin: 17. Mai 2017
- Englisch
- Abmessung: 260mm x 208mm x 33mm
- Gewicht: 1342g
- ISBN-13: 9781107071544
- ISBN-10: 1107071542
- Artikelnr.: 41150809
- Verlag: Cambridge University Press
- Seitenzahl: 528
- Erscheinungstermin: 17. Mai 2017
- Englisch
- Abmessung: 260mm x 208mm x 33mm
- Gewicht: 1342g
- ISBN-13: 9781107071544
- ISBN-10: 1107071542
- Artikelnr.: 41150809
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 Laqué; 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.
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 Laqué; 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.
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 Laqué; 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.
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 Laqué; 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.