Is King Lear an autonomous text, or a rewrite of the earlier and
anonymous play King Leir? Should we refer to Shakespeare s original
quarto when discussing the play, the revised folio text, or the
popular composite version, stitched together by Alexander Pope in
1725? What of its stage variations? When turning from page to
stage, the critical view on King Lear is skewed by the fact that
for almost half of the four hundred years the play has been
performed, audiences preferred Naham Tate's optimistic adaptation,
in which Lear and Cordelia live happily ever after. When discussing
King Lear, the question of what comprises the play is both complex
and fragmentary.
These issues of identity and authenticity across time and across
mediums are outlined, debated, and considered critically by the
contributors to this volume. Using a variety of approaches, from
postcolonialism and New Historicism to psychoanalysis and gender
studies, the leading international contributors to King Lear: New
Critical Essays offer major new interpretations on the conception
and writing, editing, and cultural productions of King Lear. This
book is an up-to-date and comprehensive anthology of textual
scholarship, performance research, and critical writing on one of
Shakespeare's most important and perplexing tragedies.
Contributors Include: R.A. Foakes, Richard Knowles, Tom Clayton,
Cynthia Clegg, Edward L. Rocklin, Christy Desmet, Paul Cantor,
Robert V. Young, Stanley Stewart and Jean R. Brink "
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