This dictionary explores the language of domestic life found in Shakespeare's work and seeks to demonstrate the meanings he attaches to it through his uses of it in particular contexts. "Domestic life" covers a range of topics: the language of the household, clothing, food, family relationships and duties; household practices, the architecture of the home, and all that conditions and governs the life of the home. The dictionary draws on recent cultural materialist research to provide in-depth definitions of the domestic language and life in Shakespeare's works, creating a richly rewarding and informative reference tool for upper level students and scholars.
Literary Criticism by Vivian Thomas,Nicki Faircloth
Shakespeare lived when knowledge of plants and their uses was a given, but also at a time of unique interest in plants and gardens.His lifetime saw the beginning of scientific interest in plants, the first large-scale plant introductions from outside the country since Roman times, and the beginning of gardening as a leisure activity. Shakespeare's works show that he engaged with this new world to illuminate so many facets of his plays and poems. This dictionary offers a complete companion to Shakespeare's references to landscape, plants and gardens, including both formal and rural settings.It covers plants and flowers, gardening terms, and the activities that Shakespeare included within both cultivated and uncultivated landscapes as well as encompassing garden imagery in relation to politics, the state and personal lives. Each alphabetical entry offers an definition and overview of the term discussed in its historical context, followed by a guided tour of its use in Shakespeare's works and finally an extensive bibliography, including primary and secondary sources, books and articles.
Shakespeare’s Suicides: Dead Bodies That Matter is the first study in Shakespeare criticism to examine the entirety of Shakespeare’s dramatic suicides. It addresses all plays featuring suicides and near-suicides in chronological order from Titus Andronicus to Antony and Cleopatra, thus establishing that suicide becomes increasingly pronounced as a vital means of dramatic characterisation. In particular, the book approaches suicide as a gendered phenomenon. By taking into account parameters such as onstage versus offstage deaths, suicide speeches or the explicit denial of final words, as well as settings and weapons, the study scrutinises the ways in which Shakespeare appropriates the convention of suicide and subverts traditional notions of masculine versus feminine deaths. It shows to what extent a gendered approach towards suicide opens up a more nuanced understanding of the correlation between gender and Shakespeare’s genres and how, eventually, through their dramatisation of suicide the tragedies query normative gender discourse.
William Shakespeare: Titus Andronicus Erstmals ins Deutsche übersetzt von Johann Joachim Eschenburg (1777). Die vorliegende Übersetzung stammt von Wolf Graf Baudissin. Erstdruck in: Shakspeare's dramatische Werke. Übersetzt von August Wilhelm Schlegel. Ergänzt und erläutert von Ludwig Tieck, Bd. 6, Berlin (Georg Andreas Reimer) 1831. Vollständige Neuausgabe. Herausgegeben von Karl-Maria Guth. Berlin 2015. Textgrundlage ist die Ausgabe: William Shakespeare: Sämtliche Werke in vier Bänden. Band 4, Herausgegeben von Anselm Schlösser. Berlin: Aufbau, 1975. Die Paginierung obiger Ausgabe wird in dieser Neuausgabe als Marginalie zeilengenau mitgeführt. Umschlaggestaltung von Thomas Schultz-Overhage unter Verwendung des Bildes: Ferdinand Bol, Titus Manlius Torquatus, 1663. Gesetzt aus Minion Pro, 11 pt.
Während Shakespeare unvergängliche Werke wie «Romeo und Julia», «Hamlet» oder «Othello» schrieb, ging die Welt durch eine Epoche tiefgreifender Veränderungen. Seit der Entdeckung Amerikas hatten sich die Horizonte Europas dramatisch erweitert, die Reformation spaltete die Christenheit, ein ganzes Weltbild geriet ins Wanken. Neil MacGregor führt uns mitten hinein in diese aufregende Zeit – und mitten hinein in die Stücke William Shakespeares. Ob er uns das Schwert eines Edelmanns oder die Wollmütze eines Handwerksburschen, einen Glaskelch aus Venedig oder Münzen aus Marrakesch vorstellt – immer weiß Neil MacGregor in den zwanzig Kapiteln dieses Buches eines der Themen zu illuminieren, die Shakespeares Zeitalter prägten: die Globalisierung, die Glaubenskämpfe, die Pest, der Islam, die Magie – und uns zugleich vertraut zu machen mit einem der aufregendsten Dichter der Weltliteratur. Das Resultat ist ein hinreißend lebendiges, glänzend geschriebenes und in vielem überraschendes Portrait der gefährlich aufgewühlten Welt von William Shakespeare.
This volume offers the most comprehensive and critically up-to-date edition of Troilus and Cressida available today. Bevington's learned and engaging introduction discusses the ambivalent status and genre of the play, variously presented in its early printing as a comedy, a history, and a tragedy. He examines and assimilates the wide variety of critical responses the play has elicited, and argues its importance in today's culture as an experimental and open-ended work. Themes of women as objects of desire and bonds of friendship between men, for instance, are not limited by historical context. He also, however, suggests that this experimentalism may have contributed to its lack of immediate stage success, and goes on to place the work in its late Elizabethan context of political instability and theatrical rivalry. A thorough performance history focuses chiefly on recent productions. The complex text situation is re-examined and the differing textual readings carefully explicated. Influential sources for this work and the surviving texts of Troilus and Cressida are discussed in appendices. The Arden Shakespeare has developed a reputation as the pre-eminent critical edition of Shakespeare for its exceptional scholarship, reflected in the thoroughness of each volume. An introduction comprehensively contextualizes the play, chronicling the history and culture that surrounded and influenced Shakespeare at the time of its writing and performance, and closely surveying critical approaches to the work. Detailed appendices address problems like dating and casting, and analyze the differing Quarto and Folio sources. A full commentary by one or more of the play’s foremost contemporary scholars illuminates the text, glossing unfamiliar terms and drawing from an abundance of research and expertise to explain allusions and significant background information. Highly informative and accessible, Arden offers the fullest experience of Shakespeare available to a reader. Table of Contents List of Illustrations General Editor's Preface Preface Introduction 'A new play, never staled with the stage': genre and the question of original performance 'An envious fever of pale and bloodless emulation': historical context in the last years of Elizabeth's reign 'Wars and lechery': demystification of the heroes of ancient Greece ''Tis but the chance of war': sceptical deflation of Trojan honour and chivalry 'The gods have heard me swear': tragic irony and the death of Hector 'As true as Troilus': male obsessions about honour and sexuality 'As false as Cressid': women as objects of desire 'Call them all panders': voyeurism and male bonding 'What's aught but as 'tis valued?': commercial and subjective valuation of identity and worth 'Divides more wider than the sky and earth': the fragmentation of the divided self 'Stuff to make paradoxes': performance history of Troilus and Cressid' Troilus and Cressida Longer Notes 'Instructed by the antiquary times': Shakespeare's sources 'Words, words, mere words': The text of Troilus and Cressida Abbreviations and references Abbreviations used in notes Shakespeare's works and works partly by Shakespeare Editions of Shakespeare collated Ancient texts Other works Index
As You Like It is one of Shakespeare's finest romantic comedies, variously lyrical, melancholy, satiric, comic and absurd. Its highly implausible plot generates a profusion of love-lorn men, a resourceful heroine in disguise, sexual ambiguity, melancholy philosophising and finally a multiplicity of marriages.
William Shakespeare: Troilus und Cressida Erstmals ins Deutsche übersetzt von Johann Joachim Eschenburg (1777). Die vorliegende Übersetzung stammt von Wolf Graf Baudissin. Erstdruck in: Shakspeare's dramatische Werke. Übersetzt von August Wilhelm Schlegel. Ergänzt und erläutert von Ludwig Tieck, Bd. 7, Berlin (Georg Andreas Reimer) 1832 Vollständige Neuausgabe. Herausgegeben von Karl-Maria Guth. Berlin 2015. Textgrundlage ist die Ausgabe: William Shakespeare: Sämtliche Werke in vier Bänden. Band 2, Herausgegeben von Anselm Schlösser. Berlin: Aufbau, 1975. Die Paginierung obiger Ausgabe wird in dieser Neuausgabe als Marginalie zeilengenau mitgeführt. Umschlaggestaltung von Thomas Schultz-Overhage unter Verwendung des Bildes: Gustave Moreau, Helena auf den Mauern Trojas, 1885. Gesetzt aus Minion Pro, 11 pt.
