Shakespeare's Use of the Petrarchan Code and Idiom in Romeo and Juliet
Author | : Luisa Conti Camaiora |
Publisher | : EDUCatt Università Cattolica |
Total Pages | : 68 |
Release | : 2000 |
Genre | : Literary Criticism |
ISBN | : |
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Author | : Luisa Conti Camaiora |
Publisher | : EDUCatt Università Cattolica |
Total Pages | : 68 |
Release | : 2000 |
Genre | : Literary Criticism |
ISBN | : |
Author | : Lisa Norene Cox |
Publisher | : |
Total Pages | : 176 |
Release | : 1985 |
Genre | : Love in literature |
ISBN | : |
Author | : William Shakespeare |
Publisher | : Clarendon Press |
Total Pages | : 472 |
Release | : 2000 |
Genre | : Conflict of generations |
ISBN | : |
This edition of one of Shakespeare's most popular and attractive plays adopts a radically new approach to the text. It offers modernized texts not only of the 1599 "good" quarto, but also of the short, or "bad" quarto of 1597, regarding each as an independent witness to a "mobile text" which changed in composition as Shakespeare wrote it and which has continued to evolve throughout its richly varied performance history. The longer and more familiar text, first printed in 1599, is presented along with a detailed explanatory commentary sensitive to both literary and theatrical issues. The earlier, shorter text is annotated only where it differs significantly from the later.
Author | : William Shakespeare |
Publisher | : W. W. Norton & Company |
Total Pages | : 230 |
Release | : 2016-10-15 |
Genre | : Drama |
ISBN | : 0393523241 |
This much-anticipated Norton Critical Edition of Shakespeare’s best-known play is based on the Second Quarto, widely agreed to be the most authoritative early text. By carefully selecting extracts from sources, scholars, and scriptwriters, Gordon McMullan tells a series of stories about Romeo and Juliet, globally and from their legend's origins to the present day. The Norton Critical Edition includes: · Introductory materials and explanatory annotations by Gordon McMullan as well as numerous images. · Sources and early rewritings by Luigi Da Porto, Matteo Bandello, Pierre Boaistuau, Kareen Seidler, and Thomas Otway, among others. · Critical readings and later rewritings spanning four centuries and including those by Stanley Wells, Wendy Wall, Dympna C. Callaghan, Jill L. Levenson, Nia?h Cusack, David Tennant, and Courtney Lehmann. · A Selected Bibliography.
Author | : Clive Bloom |
Publisher | : Springer |
Total Pages | : 244 |
Release | : 1988-11-24 |
Genre | : Literary Criticism |
ISBN | : 1349195901 |
11 essays which attempt to combine contemporary literary theory and sound practical criticism from a range of literary approaches. The contributors cover the poetry of John Donne, the theology and impact of The Book of Common Prayer, the politics of Jacobean theatre and other themes.
Author | : William Shakespeare |
Publisher | : W. W. Norton & Company |
Total Pages | : 230 |
Release | : 2016-10-15 |
Genre | : Drama |
ISBN | : 0393623416 |
This much-anticipated Norton Critical Edition of Shakespeare’s best-known play is based on the Second Quarto, widely agreed to be the most authoritative early text. By carefully selecting extracts from sources, scholars, and scriptwriters, Gordon McMullan tells a series of stories about Romeo and Juliet, globally and from their legend's origins to the present day. The Norton Critical Edition includes: · Introductory materials and explanatory annotations by Gordon McMullan as well as numerous images. · Sources and early rewritings by Luigi Da Porto, Matteo Bandello, Pierre Boaistuau, Kareen Seidler, and Thomas Otway, among others. · Critical readings and later rewritings spanning four centuries and including those by Stanley Wells, Wendy Wall, Dympna C. Callaghan, Jill L. Levenson, Nia?h Cusack, David Tennant, and Courtney Lehmann. · A Selected Bibliography.
Author | : Laurie Maguire |
Publisher | : OUP Oxford |
Total Pages | : 272 |
Release | : 2007-10-11 |
Genre | : Literary Criticism |
ISBN | : 0191527521 |
How do names attach themselves to particular objects and people and does this connection mean anything? This is a question which goes as far back as Plato and can still be seen in contemporary society with books of Names to Give Your Baby or Reader's Digest columns of apt names and professions. For the Renaissance the vexed question of naming was a subset of the larger but equally vexed subject of language: is language arbitrary and conventional (it is simply an agreed label for a pre-existing entity) or is it motivated (it creates the entity which it names)? Shakespeare's Names is a book for language-lovers. Laurie Maguire's witty and learned study examines names, their origins, cultural attitudes to them, and naming practices across centuries and continents, exploring what it means for Shakespeare's characters to bear the names they do. She approaches her subject through close analysis of the associations and use of names in a range of Shakespeare plays, and in a range of performances. The focus is Shakespeare, and in particular six key plays: Romeo and Juliet, Comedy of Errors, The Taming of the Shrew, A Midsummer Night's Dream, All's Well that Ends Well, and Troilus and Cressida. But the book also shows what Shakespeare inherited and where the topic developed after him. Thus the discussion includes myth, the Bible, Greek literature, psychological analysis, literary theory, social anthropology, etymology, baptismal trends, puns, different cultures' and periods' social practice as regards the bestowing and interpreting of names, and English literature in the sixteenth, seventeenth, eighteenth, nineteenth, and twentieth centuries; the reader will also find material from contemporary journalism, film, and cartoons.
Author | : Mark Stavig |
Publisher | : |
Total Pages | : 368 |
Release | : 1995 |
Genre | : Drama |
ISBN | : |
1995 marks the 400th anniversary of the probable first production of Shakespeare's Romeo and Juliet and A Midsummer Night's Dream. Though the similarities between these two plays have long been recognized, surprisingly little has been written on what they have in common. As Mark Stavig points out, not only do these plays share a self-consciously poetic approach to drama and a common topic -- the troubles of young lovers living in a hostile familial and societal context -- but they also share a framework of Renaissance metaphor built on gender oppositions and unities. In the primarily public and rational world of late sixteenth century England, interest in the more poetic and subjective dimensions of human experience was growing. Elizabethan writers, including Shakespeare, were searching for ways to communicate what Theseus somewhat skeptically calls the forms of things unknown' -- that realm of experience that can be expressed best (or perhaps only) through the language of metaphor. While recent Shakespeare criticism has tended to oversimplify Shakespeare's handling of gender by seeing him either as a supporter or an opponent of patricarchy, Stavig finds a more complex conception of gender in Shakespeare's psychology of love and in his depiction of society, nature and the cosmos. To appreciate these patterns of metaphor, we must understand the Petrarchism and neo-Platonism that were undergoing a resurgence in the 1590s. What emerges in Stavig's exploration is neither a scientific system nor a set of beliefs, but rather a flexible structure of metaphors that provides the context for a fresh and rewarding approach to these plays.