Shakespeare and Cultural Traditions: The Selected Proceedings of the International Shakespeare Association World Congress, Tokyo, 1991"The lectures delivered by the four plenary speakers of the congress are published here: Stephen Greenblatt's groundbreaking paper on witchcraft and Macbeth: Germaine Greer's perceptive analysis of the presence of the proletariat in Shakespeare's plays: Ruth Nevo's intriguing exploration of Freudian perspectives on Hamlet; and Takashi Sasayama's important comparative study of tragedy and emotion in Shakespeare and Chikamatsu. This volume also includes papers by other Shakespearean scholars of international reputation, offering fresh insights into many topics of interest. Among them are John Russell Brown on "Shakespeare's Plays and Traditions of Playgoing"; Sukanta Chaudhuri on "Shakespeare and the Ethnic Question"; Werner Habicht on the German Shakespeare tradition; Alexander Leggatt on bearbaiting; Avraham Oz on The Merchant of Venice; Annabel Patterson and Taming of the Shrew; and Gary Taylor on "Bardicide."" "Taken together, the essays collected in Shakespeare and Cultural Traditions constitute a remarkable range of responses to Shakespeare's enduring art and offer a truly international and multicultural assessment of his presence in the world today."--BOOK JACKET. |
From inside the book
Results 1-3 of 82
Page 60
... stage and off , but attempts to apply it on the English stage , as in the English court , were doomed never to succeed . To point out that Shakespeare defied the classical criterion ( which he certainly knew and understood ) by allowing ...
... stage and off , but attempts to apply it on the English stage , as in the English court , were doomed never to succeed . To point out that Shakespeare defied the classical criterion ( which he certainly knew and understood ) by allowing ...
Page 257
... stage settings and stage lighting , increasing finesse of production , and darkened auditoriums all combined to create a decisive separation between actors and audience . As late as 1793 , an actor , John Jackson , recorded that on a ...
... stage settings and stage lighting , increasing finesse of production , and darkened auditoriums all combined to create a decisive separation between actors and audience . As late as 1793 , an actor , John Jackson , recorded that on a ...
Page 282
... stage - high cube of stretched gauze to represent an enormous block of ice , whose melting produces a constant trickle of water and a pool in the middle of the stage , to be waded through by the characters at various points . The first ...
... stage - high cube of stretched gauze to represent an enormous block of ice , whose melting produces a constant trickle of water and a pool in the middle of the stage , to be waded through by the characters at various points . The first ...
Contents
List of Contributors | 9 |
Shakespeare and Bearbaiting | 43 |
Popular Rebellion Utopia | 76 |
Copyright | |
16 other sections not shown
Common terms and phrases
action actors appears audience bear become beginning body called Cambridge century characters common course criticism cultural death discourse doubt drama early effect Elizabethan England English example expressed fact figure final followed German give Hamlet hand Henry human idea identity imagination important interest Japanese John kind King later Lear less lines lists live London look Macbeth matter means Merchant mind moral nature never Notes original Othello Oxford performance play poet political popular possible present production question reason reference Renaissance response romantic scene seems sense Shake Shakespeare Shylock social society Sonnet speak speech stage suggests theater theatrical thing Thomas thought tion tradition tragedy translation turn University Press Venice wife witches women writes York