Macbeth clutches an imaginary dagger; Hamlet holds up Yorick's skull; Lear enters with Cordelia in his arms. Do these memorable and iconic moments have anything to tell us about the definition of Shakespearean tragedy? Is it in fact helpful to talk about 'Shakespearean tragedy' as a concept, or are there only Shakespearean tragedies? What kind of figure is the tragic hero? Is there always such a figure? What makes some plays more tragic than others? Beginning with a discussion of tragedy before Shakespeare and considering Shakespeare's tragedies chronologically one by one, this 2007 book seeks to investigate such questions in a way that highlights both the distinctiveness and shared concerns of each play within the broad trajectory of Shakespeare's developing exploration of tragic form.
This is the first major study of the use of other languages in medieval and Renaissance English drama. For the period 1400 to 1600 Janette Dillon examines why other languages increasingly invade English plays, and how their significance is illuminated by developments in church and state, in particular the advancing Reformation and expanding English nationalism. In marked contrast to other related studies, Dillon focuses on drama as performance and employs a wide range of works, from the mystery cycles to The Spanish Tragedy, and finally Shakespeare.
The acclaimed Pelican Shakespeare series, now in a dazzling new series design The Pelican Shakespeare series features authoritative and meticulously researched texts paired with scholarship by renowned Shakespeareans. Each book includes an essay on the theatrical world of Shakespeare’s time, an introduction to the individual play, and a detailed note on the text used. Updated by general editors Stephen Orgel and A. R. Braunmuller, these easy-to-read editions incorporate over thirty years of Shakespeare scholarship undertaken since the original series, edited by Alfred Harbage, appeared between 1956 and 1967. With stunning new covers designed by Manuja Waldia, definitive texts, and illuminating essays, the Pelican Shakespeare will remain a valued resource for students, teachers, and theater professionals for many years to come. This edition of Much Ado About Nothing is edited with an introduction by Peter Holland. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
Macbeth clutches an imaginary dagger; Hamlet holds up Yorick's skull; Lear enters with Cordelia in his arms. Do these memorable and iconic moments have anything to tell us about the definition of Shakespearean tragedy? Is it in fact helpful to talk about 'Shakespearean tragedy' as a concept, or are there only Shakespearean tragedies? What kind of figure is the tragic hero? Is there always such a figure? What makes some plays more tragic than others? Beginning with a discussion of tragedy before Shakespeare and considering Shakespeare's tragedies chronologically one by one, this 2007 book seeks to investigate such questions in a way that highlights both the distinctiveness and shared concerns of each play within the broad trajectory of Shakespeare's developing exploration of tragic form.
OXFORD SHAKESPEARE TOPICS General Editors: Peter Holland and Stanley Wells Oxford Shakespeare Topics provide students and teachers with short books on important aspects of Shakespeare criticism and scholarship. Each book is written by an authority in its field, and combines accessible style with original discussion of its subject. This new study of Shakespeare's English history plays looks at the plays through the lens of early modern staging, focusing on the recurrence of particular stage pictures and 'units of action', and seeking to show how these units function in particular and characteristic ways within the history plays. Through close analysis of stage practice and stage picture, the book builds a profile of the kinds of writing and staging that characterise a Shakespearean history play and that differentiate one history play from another. The first part of the book concentrates primarily on the stage, looking at the 'single' picture or tableau; the use of presenters or choric figures; and the creation of horizontally and vertically divided stage pictures. Later chapters focus more on the body: on how bodies move, gesture, occupy space, and handle objects in particular kinds of scenes. The book concludes by analysing the highly developed use of one crucial stage property, the chair of state, in Shakespeare's last history play, Henry VIII. Students of Shakespeare often express anxiety about how to read a play as a performance text rather than a non-dramatic literary text. This book aims to dispel that anxiety. It offers readers a way of making sense of plays by looking closely at what happens on stage and breaks down scenes into shorter units so that the building blocks of Shakespeare's historical dramaturgy become visible. By studying the unit of action, how it looks and how that look resembles or differs from the look of other units of action, readers will become familiar with a way of reading that may be applied to other plays, both Shakespearean and non-Shakespearean.
Pittsburg was purposely located in the center of the Cherokee-Crawford coal field of southeastern Kansas in 1876. The city's founders intended for the new mining camp to serve as a convenient shipping point for the tons of bituminous coal that would be extracted from the region. Little did the founders anticipate how quickly Pittsburg would become the dominant city in the rapidly industrialized southeastern corner of Kansas and one of the most populous cities in the state. Immigrants from over 50 ethnic groups came to Pittsburg to provide the necessary labor for the deep-shaft coal mines, the railroads, and many other industries. Pittsburg State University, established in 1903 as a manual training school, is one of the most significant features of modern-day Pittsburg and is widely recognized for excellence in academics and athletics.
In This Intimate Historical Epic, the Heart-wrenching Dilemmas of The Meeting Place Come to Rest on...The Sacred Shore Oceans and circumstances have forced families apart. For the banished French Acadians drifting in exile, the shore means safety--though it is a safety at a terrible price. For the lonely British nobleman, the shore holds a single chance to secure his legacy. For Andrew and Catherine Harrow, the shore marks a tragic separation. An extraordinary set of journeys awaits them all, each as intricate and perilous as the coastline itself. New beginnings are connected to all that has come before. And the past penetrates into what is yet to come. The common thread is a yearning to discover their identities in their families, in their communities, and in their God.
In 1963, author Tommy Janette and his neighborhood buddies in West Haven, Connecticut, were looking for something to do. And that something was starting a band and playing music. He had no idea what the future would hold for this group that originally was formed to impress the girls. In Happy Daze with Tommy and the Rivieras, Janette narrates the bands more-than-twenty-year history. It follows Tommy and the Rivieras through the years they opened for and worked with the Coasters, the Temptations, the Beach Boys, and many others. This memoir tells the true story about Jim Morrisons arrest, as Janette was the complainant in 1967 when the group opened for the Doors at the New Haven Arena. Sharing an eventful journey, with plenty of quirky moments, Happy Daze with Tommy and the Rivieras goes backstage and offers insights and stories about the venues they played, the records they recorded, and some of the stars Tommy and the Rivieras worked with and the stories about them.
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