This book offers a new approach to the discussion of English Renaissance literary subjectivity. Dissatisfied with much New Historicist and Cultural Materialist criticism, it traces the history of the controversies of self in which Hazlitt emerges as a pioneering figure. Drawing on constructivist psychology and moral theory, this book argues that Hamlet explores a Montaignesque, not Cartesian, sense of self.

In this useful guide, Paul Cantor provides a clearly structured introduction to Shakespeare's most famous tragedy. Cantor examines Hamlet's status as tragic hero and the central enigma of the delayed revenge in the light of the play's Renaissance context. He offers students a lucid discussion of the dramatic and poetic techniques used in the play. In the final chapter he deals with the uniquely varied reception of Hamlet on the stage and in literature generally from the seventeenth century to the present day.

Supply Chain Management (SCM) bedeutet konsequente Prozessorientierung zur effizienten Gestaltung der Material- und Informationsflusse im und zwischen Unternehmen. Aufgrund der Industrie- und Branchenstruktur ergeben sich unterschiedliche Anforderungen bezuglich Produkt, Markt, Technologie und Kunden - und damit an das Supply Chain Design. Die Realisierung ist jedoch mit vielfaltigen Barrieren verbunden: Neben der Gestaltung unternehmensubergreifender Prozesse, der Optimierung des Produktdesigns sowie der Auswahl der richtigen IT-Systeme und Ausnutzung der Internet-Technologie stehen zunehmend die Fahigkeiten der Mitarbeiter im Vordergrund. Nach einen Uberblick uber die Grundlagen des Supply Chain Managements zeigen ausfuhrliche Fallstudien von DaimlerChrysler, Ford, Danzas, Hewlett-Packard, Osram, BASF, Merck, dm-drogerie markt, Sara Lee und Procter & Gamble, wie SCM in der Praxis erfolgreich umgesetzt wird. Anschliessend werden die Konsequenzen fur die erfolgreiche Gestaltung unterschiedlicher Supply Chain Designs abgeleitet. Basierend auf aktuellen Forschungsergebnissen analysieren die Autoren abschliessend die Veranderungen im SCM durch den Einsatz des Internets und geben dem Leser Empfehlungen fur die Umsetzung.

"

Dit boek (hardcover) is onderdeel van de TREDITION CLASSICS serie. De makers van deze serie zijn verbonden door hun passie voor literatuur en gedreven met de bedoeling om alle publieke domein boeken weer gedrukte vorm beschikbaar te maken - wereldwijd. De meeste geprinte TREDITION CLASSICS titels zijn al decennia verdwenen uit de boekenkasten. Bij tredition geloven wij dat een goed boek nooit uit de mode is en dat zijn waarde voor eeuwig is. Deze boeken serie helpt bij het behouden van de literatuur schatten. Het draagt bij in het behouden van prachtige wereldliteratuur werken.

Diese Hardcover-Ausgabe ist Teil der TREDITION CLASSICS. Der Verlag tredition aus Hamburg veroffentlicht in der Buchreihe TREDITION CLASSICS Werke aus mehr als zwei Jahrtausenden. Diese waren zu einem Grossteil vergriffen oder nur noch antiquarisch erhaltlich. Mit TREDITION CLASSICS verfolgt tredition das Ziel, tausende Klassiker der Weltliteratur verschiedener Sprachen wieder als gedruckte Bucher zu verlegen - und das weltweit Die Buchreihe dient zur Bewahrung der Literatur und Forderung der Kultur. Sie tragt so dazu bei, dass viele tausend Werke nicht in Vergessenheit geraten

The first printed text of Shakespeare's Hamlet is about half the length of the more familiar second quarto and Folio versions. It reorders and combines key plot elements to present its own workable alternatives. This is the only modernized critical edition of the 1603 quarto in print. Kathleen Irace explains its possible origins, special features and surprisingly rich performance history, and while describing textual differences between it and other versions, offers alternatives that actors or directors might choose for specific productions.

Actor and director David Ivers presents As You Like It, as you'd like to hear it today. Presenting a new translation of Shakespeare into contemporary English, Ivers reimagines Shakespeare's comedy from an actor's point of view. Analyzing the play line by line to uncover the meaning of every joke, pun, and witty aside, Ivers repurposes Shakespeare's language while maintaining an homage to the original rhythm, cadence, and structure. An accomplished actor and director, and a lifelong lover of the Bard, Ivers is the perfect writer to bring As You Like It into the present moment. This translation of As You Like It was written as part of the Play On! Shakespeare project, an ambitious undertaking from the Oregon Shakespeare Festival that commissioned new translations of 39 Shakespeare plays. These translations present the Bard's work in language accessible to modern audiences while never losing the beauty of Shakespeare's verse. Enlisting the talents of a diverse group of contemporary playwrights, screenwriters, and dramaturges from diverse backgrounds, this project reenvisions Shakespeare for the twenty-first century. These volumes make these works available for the first time in print-a new First Folio for a new era.

The world that William Shakespeare creates in The Tempest has many features that make it recognizably like the world we live in. There are bad, self-seeking people; brothers fall out with brothers; people who have power are reluctant to give it up; people fall in love; children love their fathers but want to break free. But there are elements in The Tempest's world that are very unlike the world we live in. There is a fairy-spirit; there is music in the very air of the island; and there is a powerful magician who can command the elements and even, he tells us, bring the dead back to life. Combining reality and magic, Shakespeare creates an uncanny but morally coherent world through the play's genre, design, themes, and characters. This edition features a variety of interleaved materials that expand upon allusions in the play and explore elements of its stagecraft. Appendices offer excerpts from Shakespeare's key sources and inspirations, along with historical materials on exploration and colonialism.

This is the full play in quick modern English for a fast-paced read! Although "The Tempest" was the first play to appear in the first official Folio printing of Shakespeare's plays, it was almost certainly the last play he wrote. It held a pride of place in that first collection, presumably because the editors thought it to be his masterpiece; a crowning glory to the career of the most brightest of playwrights. Needless to say, we had to select the very best artists to do it justice, and to bring you the stunning artwork that you've come to expect from our titles. Poignant to the last, this book is a classic amongst classics.

Throughout his plays, Shakespeare placed an extraordinary emphasis on the power of the face to reveal or conceal moral character and emotion, repeatedly inviting the audience to attend carefully to facial features and expressions. The essays collected here disclose that an attention to the power of the face in Shakespeare's England helps explain moments when Shakespeare's language of the self becomes intertwined with his language of the face. As the range of these essays demonstrates, an attention to Shakespeare's treatment of faces has implications for our understanding of the historical and cultural context in which he wrote, as well as the significance of the face for the ongoing interpretation and production of the plays. Engaging with a variety of critical strands that have emerged from the so-called turn to the body, the contributors to this volume argue that Shakespeare's invitation to look to the face for clues to inner character is not an invitation to seek a static text beneath an external image, but rather to experience the power of the face to initiate reflection, judgment, and action. The evidence of the plays suggests that Shakespeare understood that this experience was extremely complex and mysterious. By turning attention to the face, the collection offers important new analyses of a key feature of Shakespeare's dramatic attention to the part of the body that garnered the most commentary in early modern England. By bringing together critics interested in material culture studies with those focused on philosophies of self and other and historians and theorists of performance, Shakespeare and the Power of the Face constitutes a significant contribution to our growing understanding of attitudes towards embodiment in Shakespeare's England.

The tempter or the tempted, who sins most? Vienna is corrupt. The Duke, who has let the city fall to vice, hands control to his Deputy, a hardline, puritan reformer. The Deputy uses ancient laws to sentence citizens to death for sexual misconduct. But when a religious Novice pleads for clemency, their heady encounter leaves the Deputy guilty of the very crime that the law condemns. Artistic Director of the Donmar Warehouse Josie Rourke's adaptation of Measure for Measure imagines the play in its original year of performance, 1604, and also in 2018.

The Shakespearean Originals Series takes as its point of departure the question: "What is it that we read Shakespeare?" The answer may seem self-evident: we read the words that Shakespeare wrote. But do we? In the case of all the major editions of Shakespeare available in the market, the fact of the matter is that many of the words that we read in an edition of, say, Hamlet, never appeared in the text as it was printed during or shortly after Shakespeare's own lifetime. They are the interpetations and interpolations of a series of editors who have been systematically changing Shakespeare's text from the eighteenth century onwards. This volume offers the text of Macbeth, as printed in the 1623 First Folio.

Choreographing Shakespeare presents a hitherto unexplored history of the choreographers and performers who have created dance adaptations of Shakespeare. This book investigates forty dance works in genres such as ballet, modern dance, and hip-hop, produced between 1940 and 2016 by choreographers in Britain, America, and Europe, all of which use Shakespeare's plays and Sonnets as their source material. By combining scholarly analysis of these productions with practice-based conversations from six contemporary choreographers, Klett offers both breadth of coverage and in-depth analysis of how Shakespeare's poetic language is translated into the usually wordless medium of dance, and shows exactly how these dance adaptations move beyond the Shakespearean texts to engage with musical and choreographic influences. Ideal for students of Shakespeare and Dance Studies, Choreographing Shakespeare explores how dance adaptations strive to design legible and intelligible stories, while ultimately celebrating the beauty of pure movement.

The "Shakespearean Originals" series aims to provide readers of modern drama with 16th- and 17th-century playtexts which have been treated as historical documents, and are reproduced as closely to their original printed forms as the conditions of modern publication will permit. Each volume in the series comprises a general series introduction, an introduction to the play, the original text, a select bibliography, full annotations and some sample facsimile pages from the text itself.

One of the most frequently read and performed of all stage works, Shakespeare's Hamlet is unsurpassed in its complexity and richness. Now the most extensively annotated version of Hamlet to date makes the play completely accessible to readers in the twenty-first century. It has been carefully assembled with students, teachers, and the general reader in mind.Eminent linguist and translator Burton Raffel offers generous help with vocabulary and usage of Elizabethan English, pronunciation, prosody, and alternative readings of phrases and lines. His on-page annotations provide readers with all the tools they need to comprehend the play and begin to explore its many possible interpretations. This version of Hamlet is unparalleled for its thoroughness and adherence to sound historical linguistics. In his introduction, Raffel offers important background on the origins and previous versions of the Hamlet story, along with an analysis of the characters Hamlet and Ophelia. And in a concluding essay, Harold Bloom meditates on the originality of Shakespeare's achievement. The book also includes a careful selection of items for further reading.

Shakespeare's history play reimagined by Naomi Iizuka. Following the events of the final two years of his life, Richard II interrogates royal power and the forces that threaten it. After banishing his cousin Henry Bolingbroke, Richard begins to lose grip of his throne and strives to find meaning in the churn and chaos of the events unfolding around him. In her new translation, Naomi Iizuka ventures into the mystery of the work, scraping away the layers of received wisdom and cracking the play open for contemporary audiences. This translation of Richard II was written as part of the Oregon Shakespeare Festival's Play On! project, which commissioned new translations of thirty-nine Shakespeare plays. These translations present work from "The Bard" in language accessible to modern audiences while never losing the beauty of Shakespeare's verse. Enlisting the talents of a diverse group of contemporary playwrights, screenwriters, and dramaturges from diverse backgrounds, this project reenvisions Shakespeare for the twenty-first century. These volumes make these works available for the first time in print-a new First Folio for a new era.

Read Shakespeare's plays in all their brilliance--and understand what every word means! Don't be intimidated by Shakespeare! These popular guides make the Bard's plays accessible and enjoyable. Each No Fear guide contains: The complete text of the original play A line-by-line translation that puts the words into everyday language A complete list of characters, with descriptions Plenty of helpful commentary

Presents the original text of Shakespeare's play side by side with a modern version, with marginal notes and explanations and full descriptions of each character.

Rather than treating the plays as objects to be studied, described and interpreted, Engagements with Shakespearean Drama examines precisely what about Shakespeare's plays is so special - why they continue to be discussed and performed all around the world. This book highlights the importance of our experience as readers and audiences and argues that what makes the plays great is that they cause a wide range of intense, pleasurable and valuable experiences. This highly personal and emotive approach allows students to engage with the plays on a new level, taking their own responses seriously as grounds for assessing the plays' success and quality. The book also engages with the essential criticism of the plays from Shakespeare's time to our own, equipping students to engage in contemporary debates about the nature and achievement of Shakespearean drama.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. This second edition of The First Part of King Henry IV offers a theatrical perspective on the origins of Shakespeare's play and the history of its interpretation. In their introduction the editors, Herbert and Judith Weil, clarify the play's de-centred dramatic structure and call attention to the effects of civil war on a broad range of relationships. Falstaff's unpredictable vitality is also explored, together with such important contemporaneous values as honour, friendship, festivity and reformation. Lexical glosses make the rich wordplay accessible, while the notes provide a thorough commentary on Shakespeare's transformation of his sources. A supplementary section by Katharine Craik focuses on important modern interpretations.

New versions of Shakespeare's history plays from director and translator Douglas Langworthy. In his three Henry VI plays, Shakespeare tackles the infamous Wars of the Roses and the fall of the House of Lancaster. In this translation of Henry VI, Part 2, Douglas Langworthy follows the increasing tensions as the Duke of York foments rebellion against the crown. Langworthy's translation takes a deep dive into the language of Shakespeare. With a fine-tooth comb, he updates passages that are archaic and difficult to the modern ear, and matches them with the syntax and lyricism of the rest of the play, essentially translating archaic Shakespeare to match contemporary Shakespeare. This translation of Henry VI, Part 2 was written as part of the Oregon Shakespeare Festival's Play On! project, which commissioned new translations of thirty-nine Shakespeare plays. These translations present the work of "The Bard" in language accessible to modern audiences while never losing the beauty of Shakespeare's verse. Enlisting the talents of a diverse group of contemporary playwrights, screenwriters, and dramaturges from diverse backgrounds, this project reenvisions Shakespeare for the twenty-first century. These volumes make these works available for the first time in print-a new First Folio for a new era.

Caridad Svich offers a new take on the history play, which tells the story of Henry VIII's marriage to Anne Boleyn. Shakespeare's Henry VIII is a story of a brazen race to power and the desire for an heir. Advised by Cardinal Wolsey, Henry VIII is caught between church and state as he meets Anne Boleyn and seeks to annul his marriage to Queen Katherine. This episodic and plot-driven play examines the machinations of royal power. Shakespeare's Henry VIII, in this new translation by Caridad Svich, is a swift-moving, complex tale of intrigue. This translation of Henry VIII was written as part of the Oregon Shakespeare Festival's Play On! project, which commissioned new translations of thirty-nine Shakespeare plays. These translations present work from "The Bard" in language accessible to modern audiences while never losing the beauty of Shakespeare's verse. Enlisting the talents of a diverse group of contemporary playwrights, screenwriters, and dramaturges from diverse backgrounds, this project reenvisions Shakespeare for the twenty-first century. These volumes make these works available for the first time in print-a new First Folio for a new era.

This important new edition of one of Shakespeare's more neglected plays offers a wide-ranging critical introduction, concentrating on its relevance to Elizabethan political issues and on the role played in it by women, by legal concepts and practices, and by the family. The printing of the play in the First Folio (1623) is studied in fresh detail, and there are illustrations of the play in performance, and a comprehensive stage history. Full and helpful annotation pays special attention to the play's language and staging.

Argues that the Essais of Montaigne were a crucial factor in the composition of later Shakespearean drama A new way of accounting for the different sorts of plays that Shakespeare wrote later in his career A detailed history of the literary-critical interest in the Montaigne-Shakespeare connection, from the eighteenth century to the present day Case studies that, through sustained close-readings of Montaigne's essays and Shakespeare's plays, shows the shared concerns of the authors A new approach that differs from the more typical method of looking merely for verbal echoes, resulting in a deeper, richer sense of the way that Shakespeare's reading of Montaigne shaped his writing In this revisionist study, Peter G. Platt provides a detailed history of the literary-critical interest in the Montaigne-Shakespeare connection from the eighteenth century to the present day. Through sustained close-readings of Montaigne's essays and Shakespeare's plays, Platt explores both authors' approaches to self, knowledge and form that stress fractures, interruptions and alternatives. While the change in monarchy, the revived interest in judicial rhetoric and the alterations in Shakespeare's acting company helped shape plays such as Measure for Measure, King Lear and The Tempest, this book contends that Shakespeare's reading of Montaigne is an under-recognised driving force in these later plays.