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Books on the topic 'Shakespeare remarks'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 February 2022

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1

Shakespeare, William. Antony and Cleopatra: A historical play in five acts by William Shakespeare. Printed from the acting copy, with remarks biographical and critical. Oxford: Pergamon, 1985.

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2

Shakespeare remains: Theater to film, early modern to postmodern. Ithaca, N.Y: Cornell University Press, 2002.

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3

Shakespeare and the Cleopatra/Caesar intertext: Sequel, conflation, remake. Lanham, Md: Fairleigh Dickinson University Press, co-published with The Rowman & Littlefield Pub. Group, 2011.

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4

Hobsch, Manfred. Machs's noch einmal!: Das grosse Buch der Remakes-- über 1300 Filme in einem Band ; von "Anna Karenina" bis William Shakespeare's "Romeo & Julia", von "Body snatchers" bis "Die Schöne und das Biest" und von "Bram Stocker's Dracula" bis "Mary Shelley's Frankenstein". Berlin: Schwarzkopf & Schwarzkopf, 2002.

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5

Whately, Thomas. Remarks on Some of the Characters of Shakespeare. Routledge, 2013. http://dx.doi.org/10.4324/9780203042946.

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6

Whatley, Thomas. Remarks on Some of the Characters of Shakespeare: Volume 17. Taylor & Francis Group, 2016.

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7

Nowak, Piotr. Ancients and Shakespeare on Time: Some Remarks on the War of Generations. Rodopi B.V. Editions, 2014.

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8

Joseph, Ritson. Remarks, Critical and Illustrative, on the Text and Notes of the Last Edition of Shakespeare. HardPress, 2020.

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9

McCulloch, Lynsey, and Brandon Shaw, eds. 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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10

Kemble, J. P. Macbeth, and King Richard the Third: An Essay, in Answer to Remarks on Some of the Characters of Shakespeare. Taylor & Francis Group, 2017.

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11

Macbeth, and King Richard the Third: An Essay, in Answer to Remarks on Some of the Characters of Shakespeare. Taylor & Francis Group, 2016.

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12

Anonyma. Some Remarks on the Tragedy of Hamlet, Prince of Denmark, Written by Mr. William Shakespeare (1736). Hard Press, 2006.

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13

Montagu, Elizabeth. Essay on the Writings and Genius of Shakespear : Compared with the Greek and French Dramatic Poets: With Some Remarks upon the Misrepresentations of Monsieur de Voltaire. University of Cambridge ESOL Examinations, 2018.

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14

1784-1824, Oxberry William, and Tate Nahum 1652-1715, eds. King Lear: A tragedy : with prefatory remarks....as it is performed at the Theatres Royal. Oxford: Pergamon Press, 1985.

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15

Kirwan, Peter. Not-Shakespeare and the Shakespearean Ghost. Edited by James C. Bulman. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199687169.013.19.

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Drawing on the work of Marvin Carlson and Susan Bennett, this chapter interrogates the role of the broader canon of early modern drama, usually Jacobean, in shaping contemporary Shakespearean performance. Shakespeare and ‘not-Shakespeare’ are part of a binary that treats not-Shakespeare as both a supplement to the Shakespeare canon and a perversion or antithesis of it. This chapter analyses criticism of recent productions of Cardenio and ’Tis Pity She’s a Whore to show how a dominant interpretative paradigm based on Shakespeare skews readings of both Shakespeare and not-Shakespeare, yoking them to a limited selection of values and aesthetic priorities. Yet while not-Shakespeare remains defined by a negative, this chapter argues that a current shift in theatrical cultures is blurring previously established boundaries to productive effect.
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16

Halpern, Richard. The Classical Inheritance. Edited by Michael Neill and David Schalkwyk. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198724193.013.2.

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The question of Shakespeare’s relation to the Greek and Roman playwrights has, historically, possessed a kind of amplitude that his relation to other kinds of tradition has not. While recent scholarship challenges the old claim that Shakespeare had no direct access to Greek drama, Seneca’s status as his chief classical influence remains unchallenged. Moreover, Seneca’s plays self-consciously broadcast their embeddedness in tradition in a way that would allow Shakespeare to reverse engineer Greek drama, even without direct access. His use of central Senecan motifs—excessive revenge, the ghost, furor—demonstrates his awareness that they are also figures for literary tradition.
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17

Walker, William Sidney. A Critical Examination of the Text of Shakespeare, with Remarks on His Language and That of His Contemporaries, together with Notes on His Plays and Poems: Volume 2. Adamant Media Corporation, 2001.

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18

Series, Michigan Historical Reprint. The dramatic works and poems of William Shakespeare, with notes, original and selected, and introductory remarks to each play, by Samuel Weller Singer, ... of the poet, by Charles Symmons.: Vol. 2. Scholarly Publishing Office, University of Michigan Library, 2005.

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19

Schwyzer, Philip. Shakespeare and the Remains of Richard III. Oxford University Press, 2015.

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20

Shakespeare And The Remains Of Richard Iii. Oxford University Press, 2013.

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21

White, Richard Grant. Works of William Shakespeare: The Plays Ed. from the Folio of Mdcxxiii, with Various Readings from All the Editions and All the Commentators, Notes, Introductory Remarks, a Historical Sketch of the Text, an Account of the Rise and Progress of the Engl. HardPress, 2020.

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22

Shakespeare, William. Works of William Shakespeare: The Plays Ed. from the Folio of Mdcxxiii, with Various Readings from All the Editions and All the Commentators, Notes, Introductory Remarks, a Historical Sketch of the Text, an Account of the Rise and Progress of the Engl. HardPress, 2020.

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23

White, Richard Grant. Works of William Shakespeare: The Plays Ed. from the Folio of Mdcxxiii, with Various Readings from All the Editions and All the Commentators, Notes, Introductory Remarks, a Historical Sketch of the Text, an Account of the Rise and Progress of the Engl. HardPress, 2020.

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24

Schalkwyk, David. “Unpacking the Heart”. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190698515.003.0008.

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Hamlet is not usually considered a play about love, although some have traced a conception of desire in Hamlet’s relationship with his mother. This essay approaches the classic distinction between the public and the private in Hamlet by focusing on the discourses of love, viewed through Wittgenstein’s remarks on the relationship between interiority and the public face of meaning. The essay argues that although interiority is not “nothing,” as some materialist Shakespeare critics have argued, nor is it “some thing” that exists within. Love exemplifies this liminality. It is neither a completely interior emotional state nor merely “actions that a man might play,” but a concept with a public use: it requires a set of sustaining social practices and conditions. Therefore, the difficulties of finding and expressing love in the play shows a society in which it is impossible for the speech act “I love you” to take proper effect.
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25

Shakespear Illustrated : Or the Novels and Histories, on Which the Plays of Shakespear Are Founded: Collected and Translated from the Original Authors. with Critical Remarks. in Two Volumes. HardPress, 2020.

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26

Watson, Nicola J. The Author's Effects. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198847571.001.0001.

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The Author’s Effects: On Writer’s House Museums is the first book to describe how the writer’s house museum came into being as a widespread cultural phenomenon across Britain, Europe, and North America. Exploring the ways that authorship has been mythologized and materialized through the conventions of the writer’s house museum, The Author’s Effects anatomizes the how and why of the emergence, establishment, and endurance of popular notions of authorship in relation to creativity. It traces how and why the writer’s bodily remains, possessions, and spaces came to be treasured in the late eighteenth and nineteenth centuries, as a prelude to the appearance of formal writer’s house museums. It ransacks more than 100 museums and archives to tell the stories of celebrated and paradigmatic relics—Burns’ skull, Keats’ hair, Petrarch’s cat, Poe’s raven, Brontë’s bonnet, Dickinson’s dress, Shakespeare’s chair, Austen’s desk, Woolf’s spectacles, Hawthorne’s window, Freud’s mirror, Johnson’s coffee-pot, and Bulgakov’s stove, amongst many others. It investigates houses within which nineteenth-century writers mythologized themselves and their work—Thoreau’s cabin and Dumas’ tower, Scott’s Abbotsford and Irving’s Sunnyside. And it tracks literary tourists of the past to such long-celebrated literary homes as Petrarch’s Arquà, Rousseau’s Île St Pierre, and Shakespeare’s Stratford to find out what they thought and felt and did there, discovering deep continuities with the redevelopment of Shakespeare’s New Place for 2016
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27

Carson, Christie. Performance, Presence, and Personal Responsibility. Edited by James C. Bulman. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199687169.013.8.

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What remains of the 2012 Globe to Globe Festival through the globeplayer.tv seems to have yoked neo-Victorian ideals of the 1851 Great Exhibition to twenty-first-century social media marketing tools. The globeplayer.tv helps to spread the Globe brand internationally but at a price. This chapter argues that the festival she experienced was much more than a product and that individual productions within it reclaimed, as well as wrote back to, imperial attitudes and the project of civilizing the natives through Shakespeare. Linking analysis to the reassessment of history as experience and digital marketing as storytelling, the chapter argues that performance criticism has nowhere to go but back to its origins in theatre history, chronicling the interaction and political implications of specific performances. The author traces how how she travelled through the performances to help create the archive of the festival and likens her role to ‘Chorus to this history’.
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28

Semler, L. E. ‘Fortify Yourself in Your Decay’. Edited by Jonathan Post. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199607747.013.0006.

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This chapter surveys some of the intricacies of rhyme and rhyming effects in Shakespeare’s Sonnets. It addresses the sonnet as a musical, rhetorical, and logical text that occurs as a real-time sonic event. It begins with discussion of the tripartite structure and end-rhyme scheme to argue for the architectonic orderliness of the sonnet. Sonnet 18 is analysed in terms of its subtle sound effects before the chapter moves to explore the ways that rhyme and rhyming effects serve as binders to hold together individual quatrains and sonnets, and also to hold multiple sonnets in sequences. Sonnet 87’s peculiar end-rhyme effects are examined in relation to its argument. Throughout the essay attention is given to the effects of early modern pronunciation on rhyme and sound echoes. The pleasure and power of rhyme are explored via its association with memory, sound, time, concord and friendship. The chapter concludes with remarks on the extraordinary structure and rhyming effects of Sonnet 126.
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29

McNaughton, James. “Prophetic Relish”. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198822547.003.0007.

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Chapter 6 demonstrates how Endgame reckons with man-made genocide through famine to broaden debates about what counts as genocide postwar, to source recent starvation policies in European imperialism, and to extend Joyce’s indictment of English literary complicity, from Shakespeare to Kipling. The drama replays into dwindled dialogue political tactics from the 1930s centered on food politics: both catastrophic threats of starvation used to subordinate, and saving prophecies of plenitude used as advocacy for barbarity. Endgame performs the aftermath of Hitler’s central biopolitical concept, Lebensraum: the promise of living room comforts through the acquisition of colonial territory in the east. The play arguably alludes to Ukrainian terrain, but geographic place remains filtered through the no-place of political imagination, reflecting how colonial spaces targeted for their granaried bounty themselves are largely linguistic constructions. Finally, the play asks whether fictional depictions of nineteenth-century imperialist history naturalize and help decriminalize modern murder by starvation.
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30

Coleridge, Samuel Taylor. Notes and Lectures upon Shakespeare and Some of the Old Poets and Dramatists: With Other Literary Remains of S. T. Coleridge. Volume 2. Adamant Media Corporation, 2004.

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31

Coleridge, Samuel Taylor. Notes and Lectures upon Shakespeare and Some of the Old Poets and Dramatists: With Other Literary Remains of S. T. Coleridge. Volume 1. Adamant Media Corporation, 2004.

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32

Notes and Lectures Upon Shakespeare and Some of the Old Poets and Dramatists: With Other Literary Remains of S. T. Coleridge; Volume 1. Franklin Classics, 2018.

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33

Chedworth, John Howe Baron. Notes upon Some of the Obscure Passages in Shakespeare's Plays: With Remarks upon the Explanations and Amendments of the Commentators in the Editions Of 1785, 1790 1793. HardPress, 2020.

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34

Mariani, Giorgio. Anti-War? University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039751.003.0001.

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This chapter discusses the ghostly nature of anti-war literature. Even though anti-war literature remains until now largely untheorized, the label continues to be employed and to complicate most discussions of both war literature and war cinema. This is evident in countless Western narratives dealing with war—Homer's Iliad, William Shakespeare's history plays, Leo Tolstoi's War and Peace, Ernest Hemingway's A Farewell to Arms, just to name a few examples. This chapter considers the incorporeal notions associated with the anti-war concept by looking at two texts: Kate McLoughlin's Authoring War: The Literary Representation of War from the Iliad to Iraq and Cynthia Wachtell's War No More: The Antiwar Impulse in American Literature, 1861–1914. It argues that war novels should always be read also as war-and-peace novels and concludes with two examples of American literature that are unquestionably anti-war: Mark Twain's “War Prayer” and Hemingway's A Farewell to Arms.
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