Shakespeare Survey is a yearbook of Shakespeare studies and productions which has published the best international scholarship in English since 1948. The theme for Volume 67 is 'Shakespeare's Collaborative Work'. The complete set of Survey volumes is also available online at http://www.cambridge.org/online/shakespearesurvey.
Shakespeare Survey is a yearbook of Shakespeare studies and productions which has published the best international scholarship in English since 1948. The theme for Volume 67 is 'Shakespeare's Collaborative Work'. The complete set of Survey volumes is also available online at http://www.cambridge.org/online/shakespearesurvey.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
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.
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.
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