The Quest for Cardenio
Shakespeare, Fletcher, Cervantes, and the Lost Play
Herausgeber: Carnegie, David; Taylor, Gary
The Quest for Cardenio
Shakespeare, Fletcher, Cervantes, and the Lost Play
Herausgeber: Carnegie, David; Taylor, Gary
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This book is about the search for a lost play. Bringing together leading scholars, critics, and theatre practitioners, it is the first collection of essays devoted to The History of Cardenio, a play based on Don Quixote and said to have been written by Shakespeare and the young man who was taking his place, John Fletcher.
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This book is about the search for a lost play. Bringing together leading scholars, critics, and theatre practitioners, it is the first collection of essays devoted to The History of Cardenio, a play based on Don Quixote and said to have been written by Shakespeare and the young man who was taking his place, John Fletcher.
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Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Produktdetails
- Produktdetails
- Verlag: Oxford University Press, USA
- Seitenzahl: 436
- Erscheinungstermin: 25. Oktober 2012
- Englisch
- Abmessung: 236mm x 160mm x 36mm
- Gewicht: 816g
- ISBN-13: 9780199641819
- ISBN-10: 0199641811
- Artikelnr.: 35483922
- Herstellerkennzeichnung
- Libri GmbH
- Europaallee 1
- 36244 Bad Hersfeld
- gpsr@libri.de
- Verlag: Oxford University Press, USA
- Seitenzahl: 436
- Erscheinungstermin: 25. Oktober 2012
- Englisch
- Abmessung: 236mm x 160mm x 36mm
- Gewicht: 816g
- ISBN-13: 9780199641819
- ISBN-10: 0199641811
- Artikelnr.: 35483922
- Herstellerkennzeichnung
- Libri GmbH
- Europaallee 1
- 36244 Bad Hersfeld
- gpsr@libri.de
David Carnegie is Research Professor of Theatre at Victoria University of Wellington, New Zealand. He is co-editor of the Cambridge edition of The Works of John Webster, and has published widely on Elizabethan drama and stagecraft. He has also worked professionally as a director, dramaturg, and critic, and directed the first full production of Gary Taylor's 'creative reconstruction' of Double Falsehood entitled The History of Cardenio. Gary Taylor is George Matthew Edgar Professor of English at Florida State University. He is general editor of prize-winning, innovative Oxford editions of Shakespeare's Complete Works and Middleton's Collected Works, as well as a prize-winning book on Shakespeare in performance, Moment by Moment by Shakespeare. In addition to his twenty-two scholarly books, he has written for newspapers and magazines on both sides of the Atlantic, been widely interviewed on radio and television, and spoken at major theatres in the UK, USA, and Canada. His reconstruction of The History of Cardenio has been developed through workshops and readings at many theatres, including Shakespeare's Globe (London), the Chicago Shakespeare Theatre, the American Shakespeare Center, and the Shakespeare Theatre in Washington D.C.
* Setting the Stage
* 1: David Carnegie: Introduction
* 2: Gary Taylor: A History of The History of Cardenio
* 3: Brean Hammond: After Arden
* External Evidence: What the Documents Say
* 4: Edmund G. C. King: Cardenio and the Eighteenth-century Shakespeare
Canon
* 5: Ivan Lupic: Malone's Double Falsehood
* 6: Tiffany Stern: 'Whether one did Contrive, the other Write, / Or
one Fram'd the Plot, the Other did Indite': Fletcher and Theobald as
Collaborative Writers
* Internal Evidence: What Style and Structure Say
* 7: MacDonald P. Jackson: Looking for Shakespeare in Double Falsehood
: Stylistic Evidence
* 8: Richard Proudfoot: Can Double Falsehood Be Merely a Forgery by
Lewis Theobald?
* 9: David Carnegie: Theobald's Pattern of Adaptation: The Duchess of
Malfi and Richard II
* 10: Gary Taylor and John V. Nance: Four Characters in Search of a
Subplot: Quixote, Sancho, and Cardenio
* Intertexts and Cross-currents
* 11: Valerie Wayne: Don Quixote and Shakespeare's Collaborative Turn
to Romance
* 12: Huw Griffiths: The Friend in Cardenio, Double Falsehood, and Don
Quixote
* 13: Lori Leigh: Transvestism, Transformation, and Text:
Cross-dressing and Gender Roles in Double Falsehood/The History of
Cardenio
* 14: Matthew Wagner: In This Good Time: Cardenio and the Temporal
Character of Shakespearean Drama
* Cardenio for Performance
* 15: David Carnegie: A Select Chronology of Cardenio
* 16: Gary Taylor: The Embassy, The City, The Court, The Text:
Cardenio Performed in 1613
* 17: Roger Chartier: Cardenio without Shakespeare
* 18: Àngel-Luis Pujante: Nostalgia for the Cervantes-Shakespeare link:
Charles David Ley's Historia de Cardenio
* 19: Carla Della Gatta: Cultural Mobility and Transitioning Authority:
Greenblatt's Cardenio Project
* 20: Bernard Richards: Re-imagining Cardenio
* 21: Richard Proudfoot: Will the Real Cardenio Please Stand Up: Review
of Richards' Cardenio in Cambridge
* 22: Peter Kirwan: Theobald Restor'd: Double Falsehood at the Union
Theatre, Southwark
* 23: Gregory Doran: Restoring Double Falsehood to the Perpendicular
for the RSC
* 24: David Carnegie and Lori Leigh: Exploring The History of Cardenio
in Performance
* 25: David Lawrence: Taylor's The History of Cardenio in Wellington
* 26: Terri Bourus: 'May I be metamorphosed': Cardenio by Stages
* 1: David Carnegie: Introduction
* 2: Gary Taylor: A History of The History of Cardenio
* 3: Brean Hammond: After Arden
* External Evidence: What the Documents Say
* 4: Edmund G. C. King: Cardenio and the Eighteenth-century Shakespeare
Canon
* 5: Ivan Lupic: Malone's Double Falsehood
* 6: Tiffany Stern: 'Whether one did Contrive, the other Write, / Or
one Fram'd the Plot, the Other did Indite': Fletcher and Theobald as
Collaborative Writers
* Internal Evidence: What Style and Structure Say
* 7: MacDonald P. Jackson: Looking for Shakespeare in Double Falsehood
: Stylistic Evidence
* 8: Richard Proudfoot: Can Double Falsehood Be Merely a Forgery by
Lewis Theobald?
* 9: David Carnegie: Theobald's Pattern of Adaptation: The Duchess of
Malfi and Richard II
* 10: Gary Taylor and John V. Nance: Four Characters in Search of a
Subplot: Quixote, Sancho, and Cardenio
* Intertexts and Cross-currents
* 11: Valerie Wayne: Don Quixote and Shakespeare's Collaborative Turn
to Romance
* 12: Huw Griffiths: The Friend in Cardenio, Double Falsehood, and Don
Quixote
* 13: Lori Leigh: Transvestism, Transformation, and Text:
Cross-dressing and Gender Roles in Double Falsehood/The History of
Cardenio
* 14: Matthew Wagner: In This Good Time: Cardenio and the Temporal
Character of Shakespearean Drama
* Cardenio for Performance
* 15: David Carnegie: A Select Chronology of Cardenio
* 16: Gary Taylor: The Embassy, The City, The Court, The Text:
Cardenio Performed in 1613
* 17: Roger Chartier: Cardenio without Shakespeare
* 18: Àngel-Luis Pujante: Nostalgia for the Cervantes-Shakespeare link:
Charles David Ley's Historia de Cardenio
* 19: Carla Della Gatta: Cultural Mobility and Transitioning Authority:
Greenblatt's Cardenio Project
* 20: Bernard Richards: Re-imagining Cardenio
* 21: Richard Proudfoot: Will the Real Cardenio Please Stand Up: Review
of Richards' Cardenio in Cambridge
* 22: Peter Kirwan: Theobald Restor'd: Double Falsehood at the Union
Theatre, Southwark
* 23: Gregory Doran: Restoring Double Falsehood to the Perpendicular
for the RSC
* 24: David Carnegie and Lori Leigh: Exploring The History of Cardenio
in Performance
* 25: David Lawrence: Taylor's The History of Cardenio in Wellington
* 26: Terri Bourus: 'May I be metamorphosed': Cardenio by Stages
* Setting the Stage
* 1: David Carnegie: Introduction
* 2: Gary Taylor: A History of The History of Cardenio
* 3: Brean Hammond: After Arden
* External Evidence: What the Documents Say
* 4: Edmund G. C. King: Cardenio and the Eighteenth-century Shakespeare
Canon
* 5: Ivan Lupic: Malone's Double Falsehood
* 6: Tiffany Stern: 'Whether one did Contrive, the other Write, / Or
one Fram'd the Plot, the Other did Indite': Fletcher and Theobald as
Collaborative Writers
* Internal Evidence: What Style and Structure Say
* 7: MacDonald P. Jackson: Looking for Shakespeare in Double Falsehood
: Stylistic Evidence
* 8: Richard Proudfoot: Can Double Falsehood Be Merely a Forgery by
Lewis Theobald?
* 9: David Carnegie: Theobald's Pattern of Adaptation: The Duchess of
Malfi and Richard II
* 10: Gary Taylor and John V. Nance: Four Characters in Search of a
Subplot: Quixote, Sancho, and Cardenio
* Intertexts and Cross-currents
* 11: Valerie Wayne: Don Quixote and Shakespeare's Collaborative Turn
to Romance
* 12: Huw Griffiths: The Friend in Cardenio, Double Falsehood, and Don
Quixote
* 13: Lori Leigh: Transvestism, Transformation, and Text:
Cross-dressing and Gender Roles in Double Falsehood/The History of
Cardenio
* 14: Matthew Wagner: In This Good Time: Cardenio and the Temporal
Character of Shakespearean Drama
* Cardenio for Performance
* 15: David Carnegie: A Select Chronology of Cardenio
* 16: Gary Taylor: The Embassy, The City, The Court, The Text:
Cardenio Performed in 1613
* 17: Roger Chartier: Cardenio without Shakespeare
* 18: Àngel-Luis Pujante: Nostalgia for the Cervantes-Shakespeare link:
Charles David Ley's Historia de Cardenio
* 19: Carla Della Gatta: Cultural Mobility and Transitioning Authority:
Greenblatt's Cardenio Project
* 20: Bernard Richards: Re-imagining Cardenio
* 21: Richard Proudfoot: Will the Real Cardenio Please Stand Up: Review
of Richards' Cardenio in Cambridge
* 22: Peter Kirwan: Theobald Restor'd: Double Falsehood at the Union
Theatre, Southwark
* 23: Gregory Doran: Restoring Double Falsehood to the Perpendicular
for the RSC
* 24: David Carnegie and Lori Leigh: Exploring The History of Cardenio
in Performance
* 25: David Lawrence: Taylor's The History of Cardenio in Wellington
* 26: Terri Bourus: 'May I be metamorphosed': Cardenio by Stages
* 1: David Carnegie: Introduction
* 2: Gary Taylor: A History of The History of Cardenio
* 3: Brean Hammond: After Arden
* External Evidence: What the Documents Say
* 4: Edmund G. C. King: Cardenio and the Eighteenth-century Shakespeare
Canon
* 5: Ivan Lupic: Malone's Double Falsehood
* 6: Tiffany Stern: 'Whether one did Contrive, the other Write, / Or
one Fram'd the Plot, the Other did Indite': Fletcher and Theobald as
Collaborative Writers
* Internal Evidence: What Style and Structure Say
* 7: MacDonald P. Jackson: Looking for Shakespeare in Double Falsehood
: Stylistic Evidence
* 8: Richard Proudfoot: Can Double Falsehood Be Merely a Forgery by
Lewis Theobald?
* 9: David Carnegie: Theobald's Pattern of Adaptation: The Duchess of
Malfi and Richard II
* 10: Gary Taylor and John V. Nance: Four Characters in Search of a
Subplot: Quixote, Sancho, and Cardenio
* Intertexts and Cross-currents
* 11: Valerie Wayne: Don Quixote and Shakespeare's Collaborative Turn
to Romance
* 12: Huw Griffiths: The Friend in Cardenio, Double Falsehood, and Don
Quixote
* 13: Lori Leigh: Transvestism, Transformation, and Text:
Cross-dressing and Gender Roles in Double Falsehood/The History of
Cardenio
* 14: Matthew Wagner: In This Good Time: Cardenio and the Temporal
Character of Shakespearean Drama
* Cardenio for Performance
* 15: David Carnegie: A Select Chronology of Cardenio
* 16: Gary Taylor: The Embassy, The City, The Court, The Text:
Cardenio Performed in 1613
* 17: Roger Chartier: Cardenio without Shakespeare
* 18: Àngel-Luis Pujante: Nostalgia for the Cervantes-Shakespeare link:
Charles David Ley's Historia de Cardenio
* 19: Carla Della Gatta: Cultural Mobility and Transitioning Authority:
Greenblatt's Cardenio Project
* 20: Bernard Richards: Re-imagining Cardenio
* 21: Richard Proudfoot: Will the Real Cardenio Please Stand Up: Review
of Richards' Cardenio in Cambridge
* 22: Peter Kirwan: Theobald Restor'd: Double Falsehood at the Union
Theatre, Southwark
* 23: Gregory Doran: Restoring Double Falsehood to the Perpendicular
for the RSC
* 24: David Carnegie and Lori Leigh: Exploring The History of Cardenio
in Performance
* 25: David Lawrence: Taylor's The History of Cardenio in Wellington
* 26: Terri Bourus: 'May I be metamorphosed': Cardenio by Stages