By Richard Dutton, Jean E. Howard
The four-volume Companion to Shakespeare's Works, compiled as a unmarried entity, deals a uniquely entire image of present Shakespeare feedback. This quantity appears at Shakespeare’s comedies.
- Contains unique essays on each comedy from The gents of Verona to Twelfth Night.
- Includes twelve extra articles on such issues because the humoral physique in Shakespearean comedy, Shakespeare's comedies on movie, Shakespeare's relation to different comedian writers of his time, Shakespeare's pass dressing comedies, and the geographies of Shakespearean comedy.
- Brings jointly new essays from a various, foreign workforce of students.
- Complements David Scott Kastan's A spouse to Shakespeare (1999), which considering Shakespeare as an writer in his ancient context.
- Offers a provocative roadmap to Shakespeare stories.
Chapter 1 Shakespeare and the Traditions of English level Comedy (pages 4–22): Janette Dillon
Chapter 2 Shakespeare's Festive Comedies (pages 23–46): Francois Laroque
Chapter three The Humor of It: our bodies, Fluids, and Social self-discipline in Shakespearean Comedy (pages 47–66): Gail Kern Paster
Chapter four classification X: Shakespeare, category, and the Comedies (pages 67–89): Peter Holbrook
Chapter five The Social family of Shakespeare's comedian families (pages 90–113): Mario DiGangi
Chapter 6 Shakespeare's Crossdressing Comedies (pages 114–136): Phyllis Rackin
Chapter 7 The Homoerotics of Shakespeare's Elizabethan Comedies (pages 137–158): Julie Crawford
Chapter eight Shakespearean Comedy and fabric existence (pages 159–181): Lena Cowen Orlin
Chapter nine Shakespeare's comedian Geographies (pages 182–199): Garrett A. Sullivan
Chapter 10 Rhetoric and comedian Personation in Shakespeare's Comedies (pages 200–222): Lloyd Davis
Chapter eleven fats Knight, or What you'll: Unimitable Falstaff (pages 223–242): Ian Frederick Moulton
Chapter 12 Wooing and successful (Or Not): Film/Shakespeare/Comedy and the Syntax of style (pages 243–265): Barbara Hodgdon
Chapter thirteen the 2 gents of Verona (pages 266–288): Jeffrey Masten
Chapter 14 “Fie, what a silly accountability name you this?” The Taming of the Shrew, Women's Jest, and the Divided viewers (pages 289–306): Pamela Allen Brown
Chapter 15 The Comedy of blunders and The Calumny of Apelles: An workout in resource research (pages 307–319): Richard Dutton
Chapter sixteen Love's Labour's misplaced (pages 320–337): John Michael Archer
Chapter 17 A Midsummer Night's Dream (pages 338–357): Helen Hackett
Chapter 18 Rubbing at Whitewash: Intolerance within the service provider of Venice (pages 358–375): Marion Wynne?Davies
Chapter 19 The Merry better halves of Windsor: Unhusbanding wishes in Windsor (pages 376–392): Wendy Wall
Chapter 20 a lot Ado approximately not anything (pages 393–410): Alison Findlay
Chapter 21 As you're keen on It (pages 411–428): Juliet Dusinberre
Chapter 22 12th evening: “The Babbling Gossip of the Air” (pages 429–446): Penny homosexual
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Additional info for A Companion to Shakespeare's Works, Volume 3: Literature and Culture
The Riverside Shakespeare, 2nd edn, ed. G. Blakemore Evans. Boston: Houghton Mifflin. Sidney, P. (1973). An Apology for Poetry, ed. Geoffrey Shepherd. Manchester: Manchester University Press. Thorndike, A. H. (1902). The Relation of “As You Like It” to Robin Hood Plays. Journal of English and German Philology, 4, 59–69. Weimann, R. (1978). Shakespeare and the Popular Tradition: Studies in the Social Dimension of Dramatic Form and Function. Baltimore, MD: Johns Hopkins University Press. Wickham, G.
Boston: Houghton Mifflin. Sidney, P. (1973). An Apology for Poetry, ed. Geoffrey Shepherd. Manchester: Manchester University Press. Thorndike, A. H. (1902). The Relation of “As You Like It” to Robin Hood Plays. Journal of English and German Philology, 4, 59–69. Weimann, R. (1978). Shakespeare and the Popular Tradition: Studies in the Social Dimension of Dramatic Form and Function. Baltimore, MD: Johns Hopkins University Press. Wickham, G. (1979). “Heavens,” Machinery, and Pillars in the Theatre and Other Early Playhouses.
Plays Confuted in Five Actions, Chambers 1923: IV, 216). For Shakespeare, the best joke is to laugh, with his audience, at those who think that comedy needs to be justified on moral grounds. Though he incorporates much that is new in his remaking of English stage tradition in this play, he is not newfangled enough to dispense with the implicit and traditional assumption of theatre practitioners, as opposed to theorists: that plays are for pleasure. Notes 1 2 3 4 5 6 7 8 9 10 11 12 13 Quotations from Shakespeare are taken from The Riverside Shakespeare, ed.
A Companion to Shakespeare's Works, Volume 3: Literature and Culture by Richard Dutton, Jean E. Howard