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
General
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