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This clearly introduces the many critical issues surrounding this complex and haunting play. Ioppolo examines sources, from Holinshed to Spencer, and in the Interpretations section looks at critical readings and notable performances of the play. These range from early critical responses and performances to recent stage and screen interpretations. Edited key passages connect the play to its contexts and criticism, providing both a guide and a new perspective on King Lear. Careful annotation explains Shakespeare's language. This Routledge Literary Sourcebook is ideal introduction for undergraduates, providing orientation in the play, its reception history and the critical material which surrounds it. It examines King Lear within its literary and cultural contexts, bringing together: *contemporary documents surrounding King Lear *performance history *early critical reception from major critics *twentieth-century criticism *key passages. All documents are discussed and explained. The volume also offers carefully annotated key passages from the play itself and concludes with a list of recommended editions and further reading, allowing readers to pursue their study in the areas that interest them most. Grace Ioppolo's broad-ranging analysis and the wealth of materials she brings together make this the ideal guide for any student of King Lear.
This clearly introduces the many critical issues surrounding this complex and haunting play. Ioppolo examines sources, from Holinshed to Spencer, and in the Interpretations section looks at critical readings and notable performances of the play. These range from early critical responses and performances to recent stage and screen interpretations. Edited key passages connect the play to its contexts and criticism, providing both a guide and a new perspective on King Lear. Careful annotation explains Shakespeare's language. This Routledge Literary Sourcebook is ideal introduction for undergraduates, providing orientation in the play, its reception history and the critical material which surrounds it. It examines King Lear within its literary and cultural contexts, bringing together: *contemporary documents surrounding King Lear *performance history *early critical reception from major critics *twentieth-century criticism *key passages. All documents are discussed and explained. The volume also offers carefully annotated key passages from the play itself and concludes with a list of recommended editions and further reading, allowing readers to pursue their study in the areas that interest them most. Grace Ioppolo's broad-ranging analysis and the wealth of materials she brings together make this the ideal guide for any student of King Lear.
This book presents new evidence about the ways in which English
Renaissance dramatists such as William Shakespeare, Ben Jonson,
Thomas Heywood, John Fletcher and Thomas Middleton composed their
plays and the degree to which they participated in the
dissemination of their texts to theatrical audiences. Grace Ioppolo
argues that the path of the transmission of the text was not
linear, from author to censor to playhouse to audience - as has
been universally argued by scholars - but circular. Authors
returned to their texts, or texts were returned to their authors,
at any or all stages after composition . The reunion of authors and
their texts demonstrate that early modern dramatists collaborated
in various ways and degrees in the theatrical production and
performance of their plays, and that for early modern dramatists
and their theatrical colleagues authorship was a continual process.
Extant dramatic manuscripts, theatre records and accounts, as well
as authorial contracts, memoirs, receipts and other archival
evidence, are used to prove that the text returned to the author at
various stages, including during rehearsal and after performance.
This monograph provides much new information and case studies, and
will be a fascinating contribution to the fields of Shakespeare
studies, English Renaissance drama studies, manuscript studies,
textual study and bibliography and theatre history.
This book presents new evidence about the ways in which English
Renaissance dramatists such as William Shakespeare, Ben Jonson,
Thomas Heywood, John Fletcher and Thomas Middleton composed their
plays and the degree to which they participated in the
dissemination of their texts to theatrical audiences. Grace Ioppolo
argues that the path of the transmission of the text was not
linear, from author to censor to playhouse to audience - as has
been universally argued by scholars - but circular.
Extant dramatic manuscripts, theatre records and accounts, as well
as authorial contracts, memoirs, receipts and other archival
evidence, are used to prove that the text returned to the author at
various stages, including during rehearsal and after performance.
This monograph provides much new information and case studies, and
will be a fascinating contribution to the fields of Shakespeare
studies, English Renaissance drama studies, manuscript studies,
textual study and bibliography and theatre history.
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 Measure for Measure, as printed in the 1623
First Folio.
"Sources" helps readers navigate King Lear's rich history and
includes the nine essential primary sources from which Shakespeare
borrowed significantly in creating his play, along with two
additional likely sources. "Criticism"provides thirteen major
critical interpretations and three provocative adaptations and
responses to King Lear. Critical interpretation is provided by
Samuel Johnson, Charles Lamb, Peter Brook, Michael Warren, Lynda E.
Boose, Janet Adelman, and R. A. Foakes, among others. The
adaptations and responses are by Nahum Tate, John Keats, and Edward
Bond. A Selected Bibliography is also included.
A Midsummer Night's Dream, one of Shakespeare's most popular works
for the stage and widely performed across the world, is now
available as a Norton Critical Edition. Included are a preface,
critical essay and explanatory annotations by Grace Iopollo, along
with essays by acclaimed Shakespeare scholars, and reviews and
interpretative essays spanning over four centuries.
The Norton Critical Edition is based on the 1623 First Folio text,
the only authoritative edition of the play. The editor has
modernized spelling but preserves, for the most part, the original
lineation and characteristically heavy punctuation. The text of
Measure for Measure is accompanied by a full introduction, a note
on the text, textual variants, and related illustrations. "Sources"
considers the probable, primary, and analogous sources Shakespeare
drew upon while composing Measure for Measure, including excerpts
from G. B. Giraldi Cinthio's Hecatommithi and The Tragedy of
Epitia, King James I's Basilikon Doron, and-most directly-George
Whetstone's The History of Promos and Cassandra. "Criticism"
collects seventeen important commentaries on Measure for Measure
spanning four centuries, including, among others, those by
Alexander Pope, Charlotte Lennox, Samuel Johnson, Elizabeth
Inchbald, A. C. Bradley, G. Wilson Knight, Jonathan Dollimore, and
Marliss C. Desens. "Adaptations and Responses" reprints alternative
versions of the play: William D'avenant's The Law Against Lovers
(1662), Charles Gildon's Measure of Measure, or, Beauty the Best
Advocate (1700), and Charles Marowitz's postmodern version (1975).
A Selected Bibliography is also included.
In "Revising Shakespeare" Grace Ioppolo addresses the question of
Shakespeare's "integrity". Through analysis of variant texts
spanning the history of the plays, she arrives at an interpretation
of Shakespeare as author and reviser. Ioppolo stars with the
physical text. As textual studies of "King Lear" have shown, the
text of Shakespeare is not as given. The "text" is nearly always a
revision of another text. Critics can no longer evaluate plots,
structure, and themes, nor can scholars debate what constitutes (or
how to establish) a copy-text that stands as the "most
authoritative" version of a Shakespeare play, without reconsidering
the implications of revision for traditional and modern
interpretations. Ioppolo examines the evidence provided by dramatic
manuscripts and early printed texts of Shakespeare and his
contemporaries. Gradually we see how a recognition of the diverse
facts regarding authorial revision leads to basic changes in how we
study, edit, and teach Shakespeare. Ioppolo places the textural
revolution in a broad historical, theatrical, textual and literacy
context. She presents textual studies which show Shakespeare and
other Elizabethan and Jacobean dramatists at work revising
themselves, their plays, and their audiences. She concludes that
both textual and literacy critics must now re-evaluate and redefine
the idea of the "text" as well as that of the "author"; the "text"
is no longer editiorially or theoretically composite or finite, but
multiple and ever-revising. In addition, Ioppolo produces a new
conception of Shakespeare as a creator and recreator, viewer and
reviewer, writer and rewriter of his dramatic world.
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