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Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 30 lipca 2024

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1

Bassi, Shaul. Shakespeare’s Italy and Italy’s Shakespeare. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-49170-1.

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2

Desmet, Christy, Natalie Loper i Jim Casey, red. Shakespeare / Not Shakespeare. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63300-8.

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Jurak, Mirko. Zapisi o Shakespearu =: Notes on Shakespeare. Ljubljana: Znanstveni inštitut Filosofske fakultete, 1997.

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4

McDonald, Russ. Shakespeare & Jonson,Jonson & Shakespeare. Lincoln: University of Nebraska Press, 1988.

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5

Bill, Bryson. Shakespeare. New York: HarperCollins e-books, 2007.

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6

Myerson, Dan. Shakespeare. New York: Workman Publishing, 2000.

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7

Hart, Jonathan. Shakespeare. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230103986.

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8

Ryan, Kiernan. Shakespeare. London: Macmillan Education UK, 2001. http://dx.doi.org/10.1057/978-1-4039-1357-9.

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9

Boffone, Trevor, i Carla Della Gatta, red. Shakespeare and Latinidad. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474488488.001.0001.

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Shakespeare and Latinidad is a curated collection of scholarly and practitioner essays in the field of Latinx theatre that specifically focuses on adaptations and appropriations of Shakespeare’s plays. It is the first truly comprehensive treatment of the myriad intersections of Latinx practitioners and art with Shakespearean performance, adaptation, and pedagogy. The collection includes leading academics, playwrights, and theatre practitioners; its blend of scholarly essays, practitioner essays, and interviews reflects the transdisciplinary synthesis of scholarship, dramaturgy, and pedagogy that shapes Latinx engagement with Shakespeare. The collection brings together the diverse voices working in this field today including leading academics, playwrights and theatre practitioners. This blend of essays and interviews reflects the transdisciplinary synthesis of scholarship, dramaturgy, and pedagogy that shapes Latinx engagement with Shakespeare. The collection includes essays and dialogues from actors, directors, scholars, playwrights, and vocal coaches. Essays cover a range of topics that include translating Shakespeare into contemporary English, Latinx actors portraying Shakespearean roles as either Latinx or non-Latinx, strategies for engagement for devised theatre and theatre for young audiences, directors’ Latinx visions for Shakespeare, and scholarly analysis of productions, adaptations, and initiatives for Latinx Shakespeares. The collection highlights productions, adaptations, and theatres from throughout the United States, in large cities and rural areas, from predominantly-white theatres to theatres of colour.
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10

Hoenselaars, Ton. Captive Shakespeare. Redaktor James C. Bulman. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199687169.013.16.

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This chapter considers productions of Shakespeare’s plays put on in captivity, especially during the First and Second World Wars. It studies the phenomenon of productions of the plays performed at prisons by visiting companies or by the prisoners ‘behind bars’ themselves. It analyses and contextualizes productions of Shakespeare’s plays staged ‘behind barbed wire’ in POW camps and civilian camps, prison camps and transit camps, labour camps and refugee camps during the twentieth and early twenty-first centuries. In so doing, it seeks to use such Shakespearean investment as key to reconstructing the individual experiences of the prisoners. Just as the worldwide practice of Shakespeare staged behind bars has begun to assume a unique position in movies and docudramas, the performance of Shakespeare behind barbed wire has also developed to become a fertile motif in post-war Shakespeare productions and in new post-conflict plays written by dramatists in the ‘free’ world.
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11

Parry, Glyn, i Cathryn Enis. Shakespeare Before Shakespeare. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198862918.001.0001.

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This book puts William Shakespeare’s Stratford upbringing into significant historical context for the first time and provides new ways of thinking about Warwickshire and Elizabethan England. It uses new archival discoveries about three families: the Shakespeares, the brothers Ambrose and Robert Dudley, earls of Warwick and Leicester, and the Arden family headed by Edward Arden. It shows that as he grew up William Shakespeare was exposed to the Dudleys’ political, legal, historical, and genealogical claims for their authority in Warwickshire and Stratford, an assault on the county’s collective memory resisted by the Ardens and other gentry. As her proxies, the Dudleys established Elizabeth I’s Protestant regime in the west Midlands, culminating in Edward Arden’s destruction on false treason charges in 1583. By then the Shakespeares also had direct experience of the London government’s power in the localities. From 1569 Exchequer informers, backed by influential politicians at Court, accused William’s father John of illegal wool-dealing and usury. Contrary to previous claims that he had escaped these charges by 1572, new sources show how the Exchequer’s continuing demands undermined John’s credit rating by 1577, forcing his withdrawal from Stratford politics, and curtailing his business career in the early 1580s. In the fallout from Arden’s destruction the Elizabethan regime also punished the Shakespeares’ friends and neighbours, the Quineys for their alleged financial links to the traitorous Ardens, despite local knowledge to the contrary, confirming Shakespeare’s sceptical understanding of the realities of power that we find in his later plays.
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12

Massai, Sonia. Shakespeare With and Without Its Language. Redaktor James C. Bulman. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199687169.013.23.

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This chapter considers the impact of ‘global Shakespeare’ on performance traditions associated with mainstream Shakespeare on the English stage with particular focus on productions which put Shakespeare in conversation with non-English theatrical conventions in order to unsettle the distinction between ‘English Shakespeare’ and ‘Foreign Shakespeare’. The main focus of the chapter is the work of a London-based theatre company, ‘Two Gents Productions’, formed by a German-born director from South Africa and two Zimbabwean actors, and the evolution of their ‘township theatre’ approach to Shakespearea from their launch production of The Two Gentlemen of Verona south London (Ovalhouse) in 2008 to their contribution to the Globe to Globe Festival in 2012. The uniquely intercultural, playful quality of their Shakespearean productions shows that intercultural performance need not involve cultural looting or an unequal exchange between participating cultures. It justifies an optimistic outlook for intercultural performance in increasingly globalized theatrical (and Shakespearean) geographies.
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13

Shakespeare Library: Shakespeare's Theatre (The Shakespeare Library). Heinemann Educational Books - Library Division, 1995.

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14

Wells, Stanley. William Shakespeare. Oxford University Press, 2015. http://dx.doi.org/10.1093/actrade/9780198718628.001.0001.

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William Shakespeare: A Very Short Introduction provides a guide to the life and writings of one of the world’s greatest and best-known dramatists: William Shakespeare. Looking at his early life and education, it explores Shakespeare’s social and intellectual background and the literary traditions on which Shakespeare drew. Examining the theatres and theatrical profession of the time, it also considers how Shakespeare experienced this world, both as an actor and as a writer. Examining Shakespeare’s narrative poems, sonnets, and all of his plays, this VSI outlines their sources, style, and originality over the course of Shakespeare’s career, to consider the fundamental impact his work has had for subsequent generations.
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15

McCulloch, Lynsey, i Brandon Shaw, red. The Oxford Handbook of Shakespeare and Dance. Oxford University Press, 2019. http://dx.doi.org/10.1093/oxfordhb/9780190498788.001.0001.

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The Oxford Handbook of Shakespeare and Dance is the first collection of essays to examine the relationship between William Shakespeare and dance. Despite recent academic interest in movement, materiality, and the body—and the growth of dance studies as a disciplinary field—Shakespeare’s employment of dance as both a theatrical device and thematic reference point remains under-studied. The reimagining of his writing as dance works is also neglected as a subject for research. Alan Brissenden’s 1981 Shakespeare and the Dance remains the seminal text for those interested in early modern dancing and its appearances within Shakespearean drama, but this new volume provides a single source of reference for dance as both an integral feature of sixteenth- and seventeenth-century culture and as a means of translating Shakespearean text into movement.
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16

Shakespeare, William. Shakespeare's Sonnets (Arden Shakespeare). The Arden Shakespeare, 2010.

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17

Blackwood, Gary. Shakespeare's Spy (Shakespeare Stealer). Puffin, 2005.

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18

Blackwood, Gary L. Shakespeare's Spy (Shakespeare Stealer). Turtleback Books Distributed by Demco Media, 2005.

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19

Shakespearean Metaphysics (Shakespeare Now!). Continuum International Publishing Group, 2008.

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20

Blackwood, Gary L. Shakespeare's Spy (Shakespeare Stealer). Tandem Library, 2005.

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21

Bristol, Michael D. Shakespeare's America, America's Shakespeare. Routledge, 2015.

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22

Witmore, Michael. Shakespearean Metaphysics (Shakespeare Now!). Continuum International Publishing Group, 2008.

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23

Blackwood, Gary. Shakespeare's Scribe (Shakespeare Stealer). Puffin, 2002.

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24

Shakespeare's America, America's Shakespeare. London: Routledge, 1990.

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25

Shakespearean culture, cultural Shakespeare. Passau: Karl Stutz, 2009.

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26

Shakespeare's Spy (Shakespeare Stealer). Scholastic, Inc., 2005.

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27

Fitter, Chris, red. Shakespeare and the Politics of Commoners. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198806899.001.0001.

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This book is a highly original contribution to our understanding of Shakespeare’s plays in two ways. First, it breaks important new ground in introducing readers, lay and scholarly alike, to the existence and character of the political culture of the mass of ordinary commoners in Shakespeare’s England, as revealed by the recent findings of ‘the new social history’. Demonstrating the vibrant, critical, and philosophically dissident politics of plebeians in the Tudor period, the volume thereby helps challenge the traditional myths of a non-political commons and a culture of obedience. Second, it brings together leading Shakespeareans, digesting the recent social history, with eminent early modern social historians, turning their focus upon Shakespeare. The genuinely cross-disciplinary work resulting generates fresh readings of ten plays, locating the penetration of Shakespearean drama by popular political thought and pressure in this period of perceived social crisis. No other volume on Shakespeare has engaged and digested the dramatic importance of the discoveries of the new social history, resituating and revaluing Shakespeare within the remarkable social depth of early modern politics.
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28

Drakakis:, John. Gothic Shakespeares (Accents on Shakespeare). Routledge, 2008.

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29

(Editor), Hugh Grady, i Terence Hawkes (Editor), red. Presentist Shakespeares (Accents on Shakespeare ). Routledge, 2006.

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Presentist Shakespeares (Accents on Shakespeare ). Routledge, 2006.

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31

Gothic Shakespeares (Accents on Shakespeare). Routledge, 2008.

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32

Shakespeares Demonology Continuum Shakespeare Dictionaries. Continuum, 2011.

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33

NA. Necessary Shakespeare& Simply Shakespear Pk. Addison Wesley Publishing Company, 2005.

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34

Shakespeare's Books: A Dictionary Of Shakespeare Sources (Student Shakespeare Library). Continuum International Publishing Group, 2005.

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35

Greenhill, Wendy. Shakespeare's Players (The Shakespeare Library). Heinemann Educational Books - Library Division, 1996.

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36

Shakespeare's Theater (The Shakespeare Library). Heinemann, 2006.

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37

Shakespeare's Players (The Shakespeare Library). Heinemann Educational Books - Library Division, 1997.

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38

Shakespeare's Names (Oxford Shakespeare Topics). Oxford University Press, USA, 2007.

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39

Shakespeare's Double Helix (Shakespeare Now!). Continuum International Publishing Group, 2008.

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40

McCrum, Robert. Shakespearean: Life According to Shakespeare. Pan Macmillan, 2020.

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41

Shakespeare's Sonnets: By William Shakespeare. Independently Published, 2019.

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42

Turner, Henry S. Shakespeare's Double Helix (Shakespeare Now!). Continuum International Publishing Group, 2008.

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Shakespeare's Globe, global Shakespeares: Transcultural adaptations of Shakespeare in postcolonial literatures. Trier: WVT Wissenschaftlicher Verlag Trier, 2015.

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44

Casey, Jim, Christy Desmet i Natalie Loper. Shakespeare / Not Shakespeare. Palgrave Macmillan, 2018.

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Casey, Jim, Christy Desmet i Natalie Loper. Shakespeare / Not Shakespeare. Palgrave Macmillan, 2017.

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46

Kemp, Theresa D. Women in the Age of Shakespeare. ABC-CLIO, LLC, 2009. http://dx.doi.org/10.5040/9798216037330.

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This book offers a look at the lives of Elizabethan era women in the context of the great female characters in the works of William Shakespeare. Like the other entries in this fascinating series, Women in the Age of Shakespeare shows the influence of the world William Shakespeare lived in on the worlds he created for the stage, this time by focusing on women in the Elizabethan and Jacobean eras in general and in Shakespeare’s works in particular. Women in the Age of Shakespeare explores the ancient and medieval ideas that Shakespeare drew upon in creating his great comedic and tragic heroines. It then looks at how these ideas intersected with the lived experiences of women of Shakespeare’s time, followed by a close look at the major female characters in Shakespeare’s plays and poems. Later chapters consider how these characters have been enacted on stage and in film, interpreted by critics and scholars, and re-imagined by writers in our own time.
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47

Martin, Randall. Shakespeare and Ecology. Oxford University Press, 2015. http://dx.doi.org/10.1093/oso/9780199567027.001.0001.

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Shakespeare and Ecology is the first book to explore the topical contexts that shaped the environmental knowledge and politics of Shakespeare and his audiences. Early modern England experienced unprecedented environmental challenges including climate change, population growth, resource shortfalls, and habitat destruction which anticipate today's globally magnified crises. Shakespeare wove these events into the poetic textures and embodied action of his drama, contributing to the formation of a public ecological consciousness, while opening creative pathways for re-imagining future human relationships with the natural world and non-human life. This book begins with an overview of ecological modernity across Shakespeare's work before focusing on three major environmental controversies in particular plays: deforestation in The Merry Wives of Windsor and The Tempest; profit-driven agriculture in As You Like It; and gunpowder warfare and remedial cultivation in Henry IV Parts One and Two, Henry V, and Macbeth. A fourth chapter examines the interdependency of local and global eco-relations in Cymbeline, and the final chapter explores Darwinian micro-ecologies in Hamlet and Antony and Cleopatra. An epilogue suggests that Shakespeare's greatest potential for mobilizing modern ecological ideas and practices lies in contemporary performance. Shakespeare and Ecology illuminates the historical antecedents of modern ecological knowledge and activism, and explores Shakespeare's capacity for generating imaginative and performative responses to today's environmental challenges.
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48

Shakespeares Medical Language Arden Shakespeare Dictionaries. Bloomsbury Publishing PLC, 2014.

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49

Scott, Charlotte, red. Shakespeare / Nature. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350259867.

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Shakespeare / Nature sets new agendas for the study of nature in Shakespeare's work. Offering an expansive exploration of the intersections between the human and non-human worlds, chapters by 19 experts focus on the rich and persuasive language of nature, both as organic matter and cultural conditioning. Each chapter is grounded in a close reading of Shakespeare's plays and poems and among the many themes considered are natural theology in Macbeth; the influence of the stars in Romeo and Juliet, King Lear, Hamlet and Macbeth; monstrous bodies in Richard III and The Tempest; kinship in King Henry V; places and spaces in Love's Labour's Lost, and acting sex scenes in a range of plays including Measure for Measure, Titus Andronicus and The Two Gentlemen of Verona. Approaching ‘Nature’ in all its diversity, this collection explores the multifaceted and complex ways in which the human and non-human worlds intersect and the development of a language of symbiosis that attempts to both control as well as create the terms of human authority. It offers an entirely new approach to the subject of nature, bringing together divergent approaches that have previously been pursued independently so as to explore their shared investment in the intersections between the human and non-human worlds and how these discourses shape and condition the emotional, organic, cultural, and psychological landscapes of Shakespeare’s play world. Contributors approach Shakespeare’s nature through the various lenses of philosophy, historicism, psychoanalysis, gender studies, cosmography, geography, sexuality, linguistics, environmentalism, feminism and robotics to provide new and nuanced readings of the intersectional terms of both meaning and matter.
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Bennett, Susan. Experimental Shakespeare. Redaktor James C. Bulman. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199687169.013.6.

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‘Experimental Shakespeare’ considers the various meanings of ‘experimental’ as it has been attributed to productions of the plays in the last fifty years. It looks at innovation in performance style as well as the criticism these stage practices have inspired. In addition, the chapter considers the emergence and popularity of a ‘global’ Shakespeare and how audiences engage non-English-language and postcolonial productions in diverse cultural markets. Finally, it looks at the idea of original practices productions in replica theatre buildings and considers what effects are produced by claims to an authentic Shakespearean performance practice. Each of these traditions of ‘experimental’ Shakespeare contributes to the ongoing cultural and economic impact of the playwright and his work.
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