Questions On Shakespeare
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A Midsummer-night's Dream
| Author | : William Shakespeare |
| Publisher | : |
| Total Pages | : 72 |
| Release | : 1734 |
| Genre | : English drama (Comedy) |
| ISBN | : |
National Sylvan Theatre, Washington Monument grounds, The Community Center and Playgrounds Department and the Office of National Capital Parks present the ninth summer festival program of the 1941 season, the Washington Players in William Shakespeare's "A Midsummer Night's Dream," produced by Bess Davis Schreiner, directed by Denis E. Connell, the music by Mendelssohn is played by the Washington Civic Orchestra conducted by Jean Manganaro, the setting and lights Harold Snyder, costumes Mary Davis.
This Is Shakespeare
| Author | : Emma Smith |
| Publisher | : Vintage |
| Total Pages | : 263 |
| Release | : 2020-03-31 |
| Genre | : Literary Criticism |
| ISBN | : 1524748552 |
An electrifying new study that investigates the challenges of the Bard’s inconsistencies and flaws, and focuses on revealing—not resolving—the ambiguities of the plays and their changing topicality A genius and prophet whose timeless works encapsulate the human condition like no other. A writer who surpassed his contemporaries in vision, originality, and literary mastery. A man who wrote like an angel, putting it all so much better than anyone else. Is this Shakespeare? Well, sort of. But it doesn’t tell us the whole truth. So much of what we say about Shakespeare is either not true, or just not relevant. In This Is Shakespeare, Emma Smith—an intellectually, theatrically, and ethically exciting writer—takes us into a world of politicking and copycatting, as we watch Shakespeare emulating the blockbusters of Christopher Marlowe and Thomas Kyd (the Spielberg and Tarantino of their day), flirting with and skirting around the cutthroat issues of succession politics, religious upheaval, and technological change. Smith writes in strikingly modern ways about individual agency, privacy, politics, celebrity, and sex. Instead of offering the answers, the Shakespeare she reveals poses awkward questions, always inviting the reader to ponder ambiguities.
Shakespeare and the Question of Theory
| Author | : Geoffrey H. Hartman |
| Publisher | : Routledge |
| Total Pages | : 589 |
| Release | : 2004-06-01 |
| Genre | : Literary Criticism |
| ISBN | : 1134964420 |
The theoretical ferment which has affected literary studies over the last decade has called into question traditional ways of thinking about, classifying and interpreting texts. Shakespeare has been not just the focus of a variety of divergent critical movements within recent years, but also increasingly the locus of emerging debates within, and with, theory itself. This collection of essays, written by distinguished and powerful critics in the fields of literary theory and Shakespeare studies, is intended both for those interested in Shakespeare and for those interested more generally in the emerging debates within contemporary criticism and theory.
Shakespeare Questions
| Author | : Odell Shepard |
| Publisher | : General Books |
| Total Pages | : 232 |
| Release | : 1916 |
| Genre | : |
| ISBN | : |
Purchase of this book includes free trial access to www.million-books.com where you can read more than a million books for free. This is an OCR edition with typos. Excerpt from book: JULIUS CSAR GENERAL QUESTIONS 1. To show the simplicity of the plot material, outline the action in one hundred words or less. 2. Give reasons for the play's comparative poverty in subtle analysis of character and motive and in poetic beauty. What is the influence, in this respect, of the . nobly simple, austere, and somewhat stiff personality of Brutus ? If Antony had been allowed to dominate and determine the tone of the play, how would the play have differed in effect ? It would not be entirely misleading to compare, in this connection, the wonderfully rich and various Antony and Cleopatra. Coriolanus also has a voluminous majesty and a sumptuous splendor which forbids the assertion that the simplicity of Julius Ccesar is due to the poet's estimate of the Roman type of mind. 3. What powers of the poet's mind are scarcely brought into play in this drama ? What powers are clearly in evidence ? ' 4. Try to define the exact nature of the pleasure you take 'in this play. Is it at all like the pleasure you take in any of the great tragedies or in any of the comedies ? ' ''' 5. Why is this play especially suited to the comprehen- /; sion of children and to the elementary type of mind among adults ? (This must not, of course, be understood to imply condemnation, unless we wish to include in that condemnation almost the entire tragic theater of the ancient world.) What scenes do you leave out of consideration in your answers to this and to the three preceding questions ? 6. Would you say that in this play the poet's powers of expression are in advance of his thought or thatjjiejr lag-Jbehind his thought? Or are thought and expression in a nearly perfect equipoise ? Select several passages in illustration. Compare A Midsummer Night's Dream and The Tempest in this ...
