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Books on the topic 'Shakespeare as literary dramatist'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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1

Shakespeare as literary dramatist. Cambridge University Press, 2003.

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2

Shakespeare and the modern dramatist. St. Martin's Press, 1989.

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3

Shakespeare and the modern dramatist. Macmillan, 1989.

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4

Shakespeare and the modern dramatist. Macmillan Press, 1989.

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5

Dutton, Richard. William Shakespeare: A literary life. Macmillan, 1989.

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6

Dutton, Richard. William Shakespeare: A literary life. St. Martin's Press, 1989.

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7

In love with Shakespeare: A literary memoir. University Press of America, 2001.

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8

Sobran, Joseph. Alias Shakespeare: Solving the greatest literary mystery of all time. Free Press, 1997.

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9

Shakespeare as a challenge for literary biography: A history of biographies of Shakespeare since 1898. Edwin Mellen Press, 2009.

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10

Russell, Brown John. Studying Shakespeare in Performance. Palgrave Macmillan, 2011.

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11

Charles, Boyce, ed. Critical companion to William Shakespeare: A literary reference to his life and works. Facts On File, 2005.

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12

Bevington, David M. Shakespeare. Blackwell Pub., 2002.

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13

The Cambridge companion to Shakespeare and contemporary dramatists. Cambridge University Press, 2012.

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14

De Vere is Shakespeare: Evidence from the biography and wordplay. Oleander Press, 1997.

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15

The Shakespeare secret. Sphere, 2008.

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16

The Shakespeare secret. W F .Howes Ltd., 2008.

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17

Shakespeare: An introduction. Blackwell Pub., 2002.

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18

Marie, Welsh Anne, and Greenwald Michael L. 1945-, eds. Shakespeare: Script, stage, screen. Pearson/Longman, 2006.

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19

Shakespeare's staged spaces and playgoers' perceptions. Palgrave Macmillan, 2014.

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20

The Shakespeare invention: The life and deaths of Christopher Marlowe. Country Books, 1999.

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21

Shakespeare und die Verlockungen der Biographie: Vorgetragen in der Gesamtsitzung vom 17. Februar 2006. Verlag der Bayerischen Akademie der Wissenschaften, 2006.

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22

Pronouncing Shakespeare: The Globe experiment. Cambridge University Press, 2005.

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23

Shakespeare, William. Othello: Shorter Shakespeare. Macmillan, 1996.

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24

Scott, Michael. Shakespeare and the Modern Dramatist. Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-13340-6.

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25

Erne, Lukas. Shakespeare as Literary Dramatist. Cambridge University Press, 2009.

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26

Erne, Lukas. Shakespeare As Literary Dramatist. University of Cambridge ESOL Examinations, 2013.

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27

Shakespeare as Literary Dramatist. Cambridge University Press, 2013.

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28

Dutton, Richard. William Shakespeare: A Literary Life (Literary Lives). Palgrave Macmillan, 1994.

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29

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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30

Shakespeare, William. William Shakespeare: The Comedies (Literary classics). Gramercy, 2002.

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31

Laura, Marvel, ed. William Shakespeare. Greenhaven Press, 2004.

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32

Foster, Clare L. E. Wilde and the Emergence of Literary Drama, 1880–1895. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198789260.003.0007.

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This chapter examines Wilde’s championship of serious theatre and the authentic performance text by analysing his reviews of the first so-called ‘archaeological’ productions of Greek plays and Shakespeare. It offers a wider context in which to understand the rapidity of his disaffection with Greek plays, as practised among the social elite; and it suggests some ways in which his early enthusiasm for authentic Greek drama and Shakespeare is related to his own later classically informed playwriting, which combines old ideas of theatre as about and for its audiences with new ideas of drama as the appreciation of a literary object. Wilde’s own work as a dramatist straddled that change, prefigured by a comment he made in 1885: ‘An audience looks at a tragedian, but a comedian looks at his audience.’ He combines both these directions of gaze in his 1895 play The Importance of Being Earnest.

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33

Knoll, Gillian. Conceiving Desire in Lyly and Shakespeare. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474428521.001.0001.

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Conceiving Desire in Lyly and Shakespeare explores the role of the mind in creating erotic experience on the early modern stage. To “conceive” desire is to acknowledge the generative potential of the erotic imagination, its capacity to impart form and make meaning out of the most elusive experiences. Drawing from cognitive and philosophical approaches, this book advances a new methodology for analysing how early modern plays dramatize inward erotic experience. Grounded in cognitive theories about the metaphorical nature of thought, Conceiving Desire in Lyly and Shakespeare traces the contours of three conceptual metaphors—motion, space, and creativity—that shape erotic desire in plays by John Lyly and William Shakespeare. Although Lyly and Shakespeare wrote for different types of theatres and only partially-overlapping audiences, both dramatists created characters who speak erotic language at considerable length and in extraordinary depth. Their metaphors do more than merely narrate or express eros; they constitute characters’ erotic experiences. Each of the book’s three sections explores a fundamental conceptual metaphor, first its philosophical underpinnings and then its capacity for dramatizing erotic experience in Lyly’s and Shakespeare’s plays. Conceiving Desire in Lyly and Shakespeare provides a literary and linguistic analysis of metaphor that credits the role of cognition in the experience of erotic desire, even of pleasure itself.

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34

Shakespeare, William. Winter's Tale by William Shakespeare an Annotated Literary Edition. Independently Published, 2020.

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35

Alexander, Gavin. Song in Shakespeare. Edited by Jonathan Post. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199607747.013.0032.

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This chapter explores the place of song within Shakespeare’s plays. It also considers Shakespeare’s songs as texts, because their ontological oddity—the way they raise questions about what they are doing in their dramatic setting—is bound up with various kinds of textual oddity. Songs in As You Like It, Othello, Measure for Measure, and Twelfth Night are examined closely and related to the classical rhetorical theory of prosopopoeia or personation. Song is used by Shakespeare to explore the ways we understand and perform identity. The characters in a song, the characters in a play, the actors who played them, the writers and musicians, the scribes and printers, the oral and literary traditions that produced the plays as written, as variously performed in Shakespeare’s day, and as printed—all determine and inflect the words of Shakespeare’s songs. We must situate the personae that speak or sing in his songs between all these various agencies.

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36

Shakespeare and Gender in Practice. Red Globe Press, 2015.

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37

Christopher, Luscombe, and McKee Malcolm, eds. The Shakespeare revue. Nick Hern Books, 1994.

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38

Christopher, Luscombe, McKee Malcolm, and Royal Shakespeare Company, eds. The Shakespeare revue. Nick Hern Books, 1996.

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39

Shakespeare, William. Macbeth by William Shakespeare the New Annotated Literary Edition. Independently Published, 2020.

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40

Rhythm and Meaning in Shakespeare: A Guide for Readers and Actors. Monash University Publishing, 2013.

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41

Shakespeare, William. Othello: Literary Touchstone. Prestwick House Inc., 2005.

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42

Pronouncing Shakespeare. Cambridge University Press, 2005.

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43

Franssen, Paul. Shakespeare's Literary Lives: The Author As Character in Fiction and Film. Cambridge University Press, 2017.

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44

Shakespeare's Literary Lives: The Author As Character in Fiction and Film. Cambridge University Press, 2016.

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45

Critical Companion to William Shakespeare: A Literary Reference to His Life And Work (Critical Companion to). Checkmark Books, 2006.

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46

O'Sullivan, Maurice J. Shakespeare's Other Lives. Longwood Pr Ltd, 1995.

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47

Ezell, Margaret J. M. Poets and the Politics of Patronage and Literary Criticism. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198183112.003.0015.

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Some of the most prominent and powerful literary and artistic patrons were also highly regarded poets themselves, including the Earls of Rochester, Dorset, Mulgrave, and Roscommon. Dryden and other dramatists such as Shadwell and Etherege enjoyed support and preferment from them, as did poets including Matthew Prior and Nahum Tate. The poets and their patrons were shaping an emerging discourse of literary criticism with essays on tragedy, translation, and on satire, attempting to situate contemporary English writing in the context of classical models and Shakespeare.

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48

Shakespeare the Dramatist. Routledge, 2005.

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49

Dutton, Richard. Shakespeare, Court Dramatist. Oxford University Press, 2018.

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50

Shakespeare, Court Dramatist. Oxford University Press, 2016.

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