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Books on the topic 'Shakespeare, William, Johnson, Samuel'

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Published: 4 June 2021
Last updated: 3 February 2022

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1

Samuel, Johnson. Samuel Johnson on Shakespeare. Penguin Books, 1989.

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2

Samuel Johnson on Shakespeare: The discipline of criticism. University of Georgia Press, 1991.

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3

Samuel, Johnson. Selections from Johnson on Shakespeare. Yale University Press, 1986.

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4

Samuel, Johnson. Johnson on Shakespeare: Selections from Samuel Johnson's edition of the plays including notes by Pope, Theobald, Hanmer and Warburton. Yale University Press, 1986.

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5

Shakespeare, William. The dramatic works of William Shakespeare, with the corrections and illustrations of Dr. Johnson, G. Steevens, and others. G. Dearborn, 1989.

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6

Literary authors, parliamentary reporters: Johnson, Coleridge, Hazlitt, Dickens. Cambridge University Press, 2012.

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7

Joyce, T.S. Eliot, Auden, Beckett. Continuum, 2012.

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8

Tomarken, Edward. Samuel Johnson on Shakespeare: The Discipline of Criticism. University of Georgia Press, 2009.

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9

Johnson's Shakespeare. Oxford University Press, USA, 1991.

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10

Francis, David, and Edmund Munroe. The Dramatick Works of William Shakespeare: Printed Complete, with D. Samuel Johnson's Preface and Notes. to Which Is Prefixed the Life of the Author. Franklin Classics Trade Press, 2018.

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11

William Shakespeare: A Documentary Life by Samuel Schoenbaum (Reviewed). 2nd ed. Letters, 1992.

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12

Shakespeare, William. The Complete Works of Shakespeare: The Johnson Edition. Routledge/Thoemmes P, 1995.

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13

Charles Kean, Samuel Phelps and William Charles Macready by Their Contemporaries. Taylor & Francis Group, 2010.

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14

Rumbold, Kate. Shakespeare and the Eighteenth-Century Novel: Cultures of Quotation from Samuel Richardson to Jane Austen. Cambridge University Press, 2016.

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15

Shakespeare and the Eighteenth-Century Novel: Cultures of Quotation from Samuel Richardson to Jane Austen. Cambridge University Press, 2018.

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16

Life And Times Of William Samuel Johnson: First Senator In Congress From Connecticut And President Of Columbia College, New York. Kessinger Publishing, LLC, 2007.

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17

Hessell, Nikki. Literary Authors, Parliamentary Reporters: Johnson, Coleridge, Hazlitt, Dickens. University of Cambridge ESOL Examinations, 2014.

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18

Mahoney, Charles. Coleridge and Shakespeare. Edited by Frederick Burwick. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199644179.013.0027.

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This article examines the role of Samuel Taylor Coleridge as a critic of William Shakespeare. It discusses the loss of Coleridge's notebook for the Lectures on the Principles of Poetry, which made it difficult to accurately assess his criticism on Shakespeare. The article suggests that the innovations of Coleridge's criticism came out of the depths of his own mind and years of thinking on the principles of poetry, while his close reading of Shakespeare provided him with the necessary figures, accidents, and minutiae to substantiate his claims.
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19

Problem of Order: Elizabethan Political Commonplaces and an Example of Shakespeare's Art. University of North Carolina Press, 2012.

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20

Talbert, Ernest William. Problem of Order: Elizabethan Political Commonplaces and an Example of Shakespeare's Art. University of North Carolina Press, 2012.

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21

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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22

Shakespeare, William. Plays of William Shakspeare: In Fifteen Volumes. with the Corrections and Illustrations of Various Commentators. to Which Are Added, Notes by Samuel Johnson and George Steevens. the Fourth Edition. Revised and Augmented by Th. HardPress, 2020.

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23

H, Ireland W. Miscellaneous Papers and Legal Instruments under the Hand and Seal of William Shakespeare: Including the Tragedy of King Lear, and a Small Fragment of Hamlet, from the Original Mss. in the Possession of Samuel Ireland, of Norfolk Street. HardPress, 2020.

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24

O'Neill, Michael. Shakespearean Poetry and the Romantics. Edited by Jonathan Post. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199607747.013.0023.

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The response of the major Romantic poets to Shakespeare is multifaceted. But recognition of Shakespearean vitality and suggestiveness is pervasive. The chapter begins with a brief discussion of Blake’s colour-print ‘Pity’ and an account of pre-Romantic responses to Shakespeare (notably in the criticism of Henry Mackenzie and Samuel Johnson, and the poetry of Thomas Gray). It then explores, in turn, the responses of Wordsworth, Coleridge, Byron, Shelley, and Keats to Shakespeare, discussing how the Romantics use Shakespearean resonances in their poetry: Wordsworth, for example, echoing a number of plays to suggestive effect in the concluding movement of Tintern Abbey; Coleridge alluding to Twelfth Night at the close of ‘The Nightingale’; Keats drawing on various texts in shaping the mingling of romance and anti-romance in The Eve of St. Agnes. The essay seeks to intimate the range and depth of Romantic poetry’s orchestration of the Shakespearean bequest.
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25

Crawford, Robert. England’s Scotland. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198736233.003.0015.

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This chapter examines the three most significant depictions of Scotland by English creative writers. In Macbeth Shakespeare presents Scotland as politically riven, chaotic, and horrifying, its only hope lying in English-backed political intervention; Samuel Johnson structures his Journey to the Western Islands of Scotland so as to minimize the glories of the Scottish Enlightenment in Glasgow and Edinburgh, presenting instead ruined St Andrews, and Scotland as an often primitive ‘other’ in need of Anglicization; in To the Lighthouse, though Virginia Woolf does show some interest in distinctively Scottish aspects of her setting, principally Scotland is a stand-in for the south-west of England she associated with her childhood. Revealingly, unlike several major Scottish writers, English creative writers failed to articulate a distinctive ideology of Britishness. In English literature it is Englishness, not Britishness, that matters. This has obvious political consequences.
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26

Rivers, Isabel. Principal Booksellers and Publishing Outlets. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198269960.003.0002.

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This chapter covers the publishing history of some of the main authors discussed in the book, the Congregationalists Isaac Watts, Philip Doddridge, and Elizabeth Rowe, the Methodists John Wesley and George Whitefield, and the Church of England evangelicals James Hervey, John Newton, and William Cowper; the publications of the major London dissenting booksellers, Edward and Charles Dilly, and Joseph Johnson; the printers and sellers for the smaller denominations, the Quakers and the Moravians; and some important provincial printers and sellers of religious books, Joshua Eddowes, Samuel Hazard, Thomas and Mary Luckman, Robert Spence, William Phorson, and John Fawcett.
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27

Eller, Jonathan R. Early Mentors: Hamilton, Williamson, and Brackett. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036293.003.0011.

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This chapter focuses on three mentors that influenced Ray Bradbury as a writer: Edmond Hamilton, Jack Williamson, and Leigh Brackett. Bradbury was in the early stages of a process of literary education that began roughly from 1934 and lasted until 1953. During the early 1940s, his own maturing reading interests were enriched from time to time by friends like Henry Kuttner, who introduced him to the fiction of writers such as Sherwood Anderson, Eudora Welty, Charles Jackson, William Faulkner, Thorne Smith, and John Collier. This chapter examines how Brackett and Hamilton broadened Bradbury's reading and writing horizons throughout the early 1940s, citing in particular Brackett's influence on Bradbury's science fiction and Hamilton's introduction of Bradbury to authors such as Samuel Johnson, Alexander Pope, and Emily Dickinson. The chapter also considers Bradbury's fascination with Williamson's fantasy and horror tales, including the werewolf novel, Darker than You Think.
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28

Werker, Eric, and Lant Pritchett. Deals and Development in a Resource-Dependent, Fragile State. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198801641.003.0002.

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This chapter finds five growth episodes in Liberia’s history. From 1960 to 1971, a period of miracle growth during the presidency of William Tubman. Stagnation and decline followed during the period of 1971–9 when Tubman’s successor, William Tolbert, faced a series of negative trade shocks and a crumbling coalition of support causing negative feedback loops within the economy. Tolbert was overthrown in 1979 by Samuel Doe who oversaw Liberia’s political and economic collapse in 1980–9, and whose political settlement and exclusion of certain factions sowed the seeds for the civil war between 1990 and 2005. The fifth and final period of rapid growth from 2005 to the present day follows the election of Ellen Sirleaf Johnson, and the political stability she brought to the country, which allowed growth to return to the country. However, structural transformation remains elusive due to continued corruption, fragility, and reliance on personal relationships to keep the ruling coalition in power.
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29

Scott, Matthew. Coleridge's Lectures 1808–1819: on Literature. Edited by Frederick Burwick. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199644179.013.0011.

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This article examines Samuel Taylor Coleridge's lectures on literature during the period from 1808 to 1819. It provides an account of Coleridge as a lecturer in the context of his audience and discusses the reception of his lectures. The article describes the circumstances of his literary lectures and comments on the value of his lectures on the works of William Shakespeare and John Milton. It also considers his significant borrowings and the legacy of his lectures on the history of literary criticism.
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30

Ezell, Margaret J. M. Renovating the Stage: Companies, Actresses, Repertoire, Theatre Innovations, and the Touring Companies. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198183112.003.0009.

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Within three months of Charles II’s return, the London theatres were reopened, with two companies granted royal patents. Thomas Killigrew formed the King’s Company, and William Davenant the Duke’s Company. Initially the repertoire consisted of pre-war plays, with those of Shakespeare, Beaumont, and Fletcher popular. Regular theatre-goer Samuel Pepys recorded his approval of the new actors such as Thomas Betterton, Edward Kynaston, and Charles Hart, and actresses including Nell Gwyn and Elizabeth Barry. The companies invested in new theatres incorporating continental designs for proscenium arches, scenery, and effects at the Theatre Royal in Drury Lane, Lincoln’s Inn Fields, and Dorset Garden. Dramatists providing new plays included John Dryden, Thomas Shadwell, Aphra Behn, William Wycherley, and George Etherege.
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31

Milnes, Tim. The Testimony of Sense. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198812739.001.0001.

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British intellectual culture witnessed a sharp reduction in the volume of epistemological debate between the mid-eighteenth and early nineteenth centuries. This change coincided with a relocation of philosophical discourse from the treatise to the informal writing of the essayist. This study argues that these two phenomena are related. Around the middle of the eighteenth century, the idea of intersubjectivity emerged as a counterdiscourse to scientific empiricism. Exemplified by Hume’s ‘easy’ philosophy, it sought to reground epistemological correspondence in social correspondence, in the circulation of trusting conversation. Contemporaneously, the rise of the essay, like the concern with trust, reveals the period’s preoccupation with the ways in which intellectual life was being shaped by economic change. The essay genre sought to effect a performative critique of instrumental reason which, while essentially nostalgic in its desire for unsystematic accomplishment, presented a pragmatic counterthrust to Enlightenment rationality. For David Hume and Samuel Johnson, the performance of virtue represents and enacts the social solidarity that either underpins norms or reflects moral truths. For later essayists, however, the fiction of familiarity was both more tenuous and more urgent. In the Romantic period, the essayist’s primary burden became one of establishing social and epistemological norms through the exercise of imaginative power. In the essays of Charles Lamb and William Hazlitt, the enactment of familiar conversation created an experience of singularity and enchantment that was linked to idealized and nostalgic forms of sociability. Thus, while the eighteenth-century essay consolidated ‘truth’, the Romantic essay produced it.
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32

Lau, Beth. Intertextual Dialogue. Edited by David Duff. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199660896.013.26.

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Intertextual dialogue in the Romantic period is shaped by conflicting imperatives. Romantic writers lived in an age when the pressure to be original and natural coincided for the first time to a significant degree with the worship and canonization of previous British authors, especially such ‘geniuses’ as Shakespeare and Milton. Major figures from every genre of the period can be seen to negotiate the competing demands to acquire legitimacy by invoking other, recognized writers, and to express their own unique vision and style—both to fit into existing literary tradition and to stand out as unique. This chapter explores the complications of intertextual dialogue in five representative authors across a variety of genres: the essayist and critic William Hazlitt, the poet and writer of marginalia Samuel Taylor Coleridge, the novelist Jane Austen, and poets John Clare and John Keats.
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33

Wheat, L. Joseph, and Lynn Guptill. Histoplasmosis. Oxford University Press, 2011. http://dx.doi.org/10.1093/med/9780198570028.003.0076.

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Histoplasma was initially described from a lesion in a horse by Rivolta in 1873, who named the organism Cryptococcus farciminosum. In 1905, Samuel Darling noted the presence of intracellular organisms in many tissues, including the lungs, of a patient suspected of succumbing to miliary tuberculosis (Darling 1906). Darling named the organism Histoplasma capsulatum , because it appeared to be an encapsulated protozoan-like organism. In 1912, mycologist Henrique da Rocha-Lima reviewed Darling’s slides and noted the cytological similarities between Darling’s Histoplasma organism and Cryptococcus farciminosum. Cryptococcus farciminosum was reclassified as Histoplasma farciminosum in 1934, and in 1985 it was again reclassified as a variant of Histoplasma capsulatum (var. farciminosum ) (Weeks et al. 1985).William De Monbreun cultured the organism from the blood of a child suffering from an unexplained febrile disease in 1934, and demonstrated it to be a dimorphic fungus (De Monbreun 1934). De Monbreun and others reported naturally occurring histoplasmosis in a dog in 1939, and subsequently demonstrated experimentally that clinically inapparent histoplasmosis occurred in dogs (De Monbreun 1939). De Monbreun and others speculated that animals might serve as the source of histoplasmosis in human beings. However, C.W. Emmons demonstrated in 1949 that Histoplasma capsulatum is a soil saprophyte, and that inhalation of aerosolized microconidia and mycelial fragments served as the source of infection (Emmons 1949).The prevalence of histoplasmosis in endemic regions was estimated to be more than 50% based on positive skin tests for histoplasmin (Edwards et al. 1969). Active histoplasmosis has been identifi ed in up to 50% of dogs in endemic regions based on culture at necropsy of healthy animals (Turner et al. 1972a). The case prevalence of disseminated histoplasmosis at a veterinary teaching hospital in an endemic region of the mid-western USA of 43 cases in cats and 12 cases in dogs per 100,000 hospital records per year has been estimated (Clinkenbeard et al. 1988; Kaplan 1973). Dogs and cats with outdoor exposure are reportedly at greater risk for histoplasmosis than those with minimal time outdoors. However, some completely indoor cats become ill with histoplasmosis (Davies and Troy 1996; Johnson et al. 2004). Young to middle-aged dogs of hunting and sporting breeds have historically been reported at greatest risk for acquiring histoplasmosis (Selby et al. 1981). Risk factors for cats have not been systematically studied.Infection by Histoplasma capsulatum var. capsulatum is not contagious except in unusual situations. Rare cases of horizontal transmission have been reported. Horizontal transmission is associated with conjugal contraction of individuals with cutaneous lesions of the genitalia (Sills et al. 1973) and by solid organ transplantation of infected organs (Limaye et al. 2000). No documented cases of transmission from animals to human beings or vice versa have been reported. In contrast to Histoplasma capsulatum var. capsulatum, equine infection by Histoplasma capsulatum var. farciminosum is contagious and is transmitted by bites of contaminated flies or ticks as well as through skin traumatized with contaminated tack (Kohn 2006).
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