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Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
First published in 1971.
The only substantial text of a series of lectures on Shakespeare
by S T Coleridge is that provided by J P Collier's Seven Lectures
on Shakespeare and Milton
(1856). His text of these important lectures given by Coleridge in
1811-12 has been the basis of all modern editions. This edition is
based on hitherto unpublished transcripts of the lectures made by
Collier when, as a young man, he attended Coleridge's lectures. R A
Foakes' introduction and appendices demonstrate the extent to which
Collier revised and altered Coleridge's words for the edition he
published forty-five years later. This volume therefore provides a
much more authoritative text of Coleridge's most important
Shakespeare lectures.
Coleridge was a major critic of Shakespeare and a seminal influence
on modern criticism. Earlier selections of his Shakespeare
criticism are now out of print. This new selection is drawn largely
from Professor Foakes' authoritative edition of Coleridge's
Literary Lectures and it makes this material available in a format
which allows the student to follow the development of Coleridge's
ideas and the changes in his critical procedures. There is a
considerable Introdcution. Professor Foakes teaches in the
Department of English as the University of California in Los
Angeles. He is the editor of Coleridge's Literary Lectures (1986)
for the new Princeton Collected Coleridge.
First published in 1971. The only substantial text of a series of
lectures on Shakespeare by S T Coleridge is that provided by J P
Collier's Seven Lectures on Shakespeare and Milton (1856). His text
of these important lectures given by Coleridge in 1811-12 has been
the basis of all modern editions. This edition is based on hitherto
unpublished transcripts of the lectures made by Collier when, as a
young man, he attended Coleridge's lectures. R A Foakes'
introduction and appendices demonstrate the extent to which Collier
revised and altered Coleridge's words for the edition he published
forty-five years later. This volume therefore provides a much more
authoritative text of Coleridge's most important Shakespeare
lectures.
First published in 1971. This volume explains and analyses the last
plays of Shakespeare as dramatic structures. Beginning from the
dark comedies, the author describes the ways in which Shakespeare
was affected by the new techniques and possibilities for drama
opened up by the innovations of the years after 1600, notably by
the rise in children's companies. The main line of development of
Shakespeare's dramatic skills is shown as leading from the dark
comedies, through the late tragedies, to the last plays. A major
part of the book is devoted to analyses of Cymbeline, The Winter's
Tale, The Tempest and King Henry VIII.
This play depicts a morally corrupt world where the desire for
justice is contaminated by the obsession for revenge. The
characters take pleasure in watching adultery, incest and murder.
The play's chief moral spokesman, Vindice, is at the same time
enamoured of and disgusted by, the luxury of the court. Locating
the play in relation to the best recent criticism, and exploring
its complexities with a contemporary eye, furthers the reputation
of these comprehensive student editions. -- .
This book focuses on the two plays of Shakespeare that have
generally contended for the title of 'greatest' among his works.
Hamlet remained a focal point of reference until about 1960, when
it was displaced by King Lear, a play which at the same time ceased
to be perceived as a play of redemption and became a play of
despair. Foakes attempts to explain these shifts by analysing the
reception of the plays since about 1800, an analysis which
necessarily engages with the politics of the plays and the politics
of criticism. Recent critical theorising has destabilised the texts
and undermined the notion of 'greatness' or any consideration of
the plays as works of art. Foakes takes issue with such theories
and reconsiders textual revisions, in order to argue for the
integrity of the plays as reading texts, and to recover a flexible
sense of their artistry in relation to meaning. The book will be of
interest to scholars and students of Shakespeare and to
theatre-goers.
'By far the best edition of King Lear - in respect of both textual
and other matters - that we now have.' John Lyon, English Language
Notes 'This volume is a treasure-trove of precise information and
stimulating comments on practically every aspect of the
Lear-universe. I know of no other edition which I would recommend
with such confidence: to students, professional colleagues and also
the 'educated public'.' Dieter Mehl, Shakespeare Jahrbuch, vol 134
A new section of the Introduction to this updated edition considers important professional theater productions and the large output of scholarly criticism on the play which have appeared in recent years. The Reading List has been revised and augmented to reflect the scope of the revised edition. First Edition Hb (1985): 0-521-22194-3 First Edition Pb (1985): 0-521-29389-8
'By far the best edition of King Lear - in respect of both textual
and other matters - that we now have.' John Lyon, English Language
Notes 'This volume is a treasure-trove of precise information and
stimulating comments on practically every aspect of the
Lear-universe. I know of no other edition which I would recommend
with such confidence: to students, professional colleagues and also
the 'educated public'.' Dieter Mehl, Shakespeare Jahrbuch, vol 134
A new section of the Introduction to this updated edition considers important professional theater productions and the large output of scholarly criticism on the play which have appeared in recent years. The Reading List has been revised and augmented to reflect the scope of the revised edition. First Edition Hb (1985): 0-521-22194-3 First Edition Pb (1985): 0-521-29389-8
The legal position in international law of heads of states and
other senior state representatives is at the heart of the conflict
thrown up by recent changes in the international legal order. The
establishment of the International Criminal Court and the ad hoc
criminal tribunals reflects a growing belief that heads of states
and other senior state representatives should be held accountable
for serious violations of international law. It is now questioned
whether foreign states and their officials still have immunity from
proceedings concerning grave human rights abuses in national
courts.
This book provides a comprehensive treatment of this key issue,
covering both civil and criminal proceedings before domestic courts
and the position before international courts and tribunals. The
positions of both serving and former heads of states are examined
and, where appropriate, so is that of their family members. The
wide variety of constitutional forms and titles enjoyed by heads of
states and senior state representatives is considered and their
internationally relevant powers and functions outlined. The
implications of recognition or lack of it are assessed, together
with the practical and legal consequences of loss of office and/or
exile in a foreign state. In examining the position of heads of
state and other senior representatives in foreign states, attention
is given to the question of immunities before the local courts, and
to other privileges, protections, and courtesies to which they may
be entitled.
The book draws a distinction between the personal immunity (ratione
personae) enjoyed by heads of states which derive from their status
or office, and the official act immunity (ratione materiae) enjoyed
by all state officials. It closely examines the relationship
between state immunity as it has developed under the restrictive
doctrine and the immunities to which individuals are entitled.
Careful consideration is given to separate regimes of international
immunities such as special missions.This systematic analysis of the
legal position of heads of states takes into account the history of
the subject, relevant state practice (judicial and legislative),
the impact of relevant international treaties, and international
judicial or arbitral decisions on the matter.
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