A Midsummer Night's Dream: Reclam Universal-Bibliothek, cartea 9247
Editat de Bernhard Reitz Autor William Shakespeareen Limba Engleză Paperback – mai 1989
Structura acestei ediții publicate de Dover Publications Inc. se concentrează pe accesibilitatea textului sursă, oferind o versiune compactă a uneia dintre cele mai studiate comedii shakespeariene. Observăm cum textul este organizat pentru a evidenția simetria celor patru grupuri de personaje ale căror destine se intersectează în pădurea de lângă Atena. Metodologia narativă a lui William Shakespeare se bazează aici pe contrastul dintre ordinea rigidă a cetății și haosul eliberator al spațiului oniric, facilitat de intervențiile spiritului Puck. Ne-a atras atenția modul în care autorul utilizează poțiunile magice nu doar ca element de recuzită, ci ca instrument de analiză a fragilității sentimentelor umane. Această ediție acoperă aceeași arie tematică a jocurilor de seducție și a neînțelegerilor amoroase ca Much Ado About Nothing, dar cu o abordare mult mai fantastică și mai puțin bazată pe realismul social. În timp ce în Much Ado About Nothing conflictul se rezolvă prin dialog și spirit critic, în Midsummer Night's Dream rezolvarea vine prin intervenție supranaturală și vis. De asemenea, spre deosebire de tragedia Romeo and Juliet, unde dragostea tinerilor este condamnată de contextul social violent, aici explorarea pasiunii rămâne în zona ludicului, oferind o perspectivă optimistă asupra reconcilierii. Suntem de părere că formatul de 80 de pagini este ideal pentru studiu, păstrând integritatea versului alb și a pasajelor lirice care definesc stilul autorului.
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Specificații
ISBN-13: 9783150092477
ISBN-10: 3150092477
Pagini: 160
Dimensiuni: 93 x 147 x 10 mm
Greutate: 0.08 kg
Editura: Reclam Philipp Jun.
Seriile Reclam Universal-Bibliothek, Fremdsprachentexte
ISBN-10: 3150092477
Pagini: 160
Dimensiuni: 93 x 147 x 10 mm
Greutate: 0.08 kg
Editura: Reclam Philipp Jun.
Seriile Reclam Universal-Bibliothek, Fremdsprachentexte
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De ce să citești această carte
Recomandăm această ediție oricărui cititor care dorește să descopere mecanismele comediei clasice engleze fără barierele unui aparat critic dens. Veți câștiga o înțelegere clară a modului în care Shakespeare îmbină folclorul cu teatrul de curte. Este o lectură esențială pentru studenți și pasionați de dramaturgie, oferind un text fidel într-un format portabil, perfect pentru analiza structurii dramatice și a limbajului poetic.
Despre autor
William Shakespeare (1564–1616) este considerat cel mai mare scriitor al limbii engleze și cel mai important dramaturg al lumii. Opera sa, care include 38 de piese de teatru și 154 de sonete, a fost tradusă în toate limbile de circulație și este jucată mai des decât a oricărui alt autor. În contextul piesei Midsummer Night's Dream, Shakespeare își demonstrează măiestria în a combina elemente din mitologia clasică cu tradițiile populare englezești, creând un univers care continuă să influențeze literatura și artele spectacolului de peste patru secole.
Cuprins
A Midsummer Night's Dream Editorische Notiz Anmerkungen Literaturhinweise Nachwort
Descriere scurtă
A Midsummer Night's Dream is a comedy play by William Shakespeare, believed to have been written between 1590 and 1596. It portrays the events surrounding the marriage of the Duke of Athens, Theseus, and Hippolyta. These include the adventures of four young Athenian lovers and a group of six amateur actors, who are controlled and manipulated by the fairies who inhabit the forest in which most of the play is set. The play is one of Shakespeare's most popular works for the stage and is widely performed across the world. The play features three interconnecting plots, connected by a celebration of the wedding of Theseus of Athens and the Amazon queen, Hippolyta, which is set simultaneously in the woodland and in the realm of Fairyland, under the light of the moon. In the opening scene, Hermia refuses to follow her father Egeus' instructions to marry Demetrius, whom he has chosen for her, because she wishes to marry another man named Lysander. In response, Egeus invokes before Theseus an ancient Athenian law whereby a daughter must marry the suitor chosen by her father, or else face death. Theseus offers her another choice: lifelong chastity while worshipping the goddess Diana as a nun. At that same time, Peter Quince and his fellow players gather to produce a stage play, "the most lamentable comedy and most cruel death of Pyramus and Thisbe," for the Duke and the Duchess. Quince reads the names of characters and bestows them to the players. Nick Bottom, who is playing the main role of Pyramus, is over-enthusiastic and wants to dominate others by suggesting himself for the characters of Thisbe, the Lion, and Pyramus at the same time. He would also rather be a tyrant and recites some lines of Ercles. Quince ends the meeting with "at the Duke's oak we meet." Meanwhile, Oberon, king of the fairies, and his queen, Titania, have come to the forest outside Athens. Titania tells Oberon that she plans to stay there until she has attended Theseus and Hippolyta's wedding. Oberon and Titania are estranged because Titania refuses to give her Indian changeling to Oberon for use as his "knight" or "henchman," since the child's mother was one of Titania's worshippers. Oberon seeks to punish Titania's disobedience, so he calls for his mischievous court jester Puck or "Robin Goodfellow" to help him concoct a magical juice derived from a flower called "love-in-idleness," which turns from white to purple when struck by Cupid's arrow. When the concoction is applied to the eyelids of a sleeping person, that person, upon waking, falls in love with the first living thing they perceive. He instructs Puck to retrieve the flower with the hope that he might make Titania fall in love with an animal of the forest and thereby shame her into giving up the little Indian boy. He says, "And ere I take this charm from off her sight, / As I can take it with another herb, / I'll make her render up her page to me."
Notă biografică
William Shakespeare 26 April 1564 ¿ 23 April 1616was an English poet, playwright and actor, widely regarded as the greatest writer in the English language and the world's greatest dramatist.He is often called England's national poet and the "Bard of Avon".His extant works, including collaborations, consist of approximately 39 plays,154 sonnets, two long narrative poems, and a few other verses, some of uncertain authorship. His plays have been translated into every major living language and are performed more often than those of any other playwright.[ Shakespeare was born and raised in Stratford-upon-Avon, Warwickshire. . Sometime between 1585 and 1592, he began a successful career in London as an actor, writer, and part-owner of a playing company called the Lord Chamberlain's Men, later known as the King's Men. His early plays were primarily comedies and histories and are regarded as some of the best work produced in these genres. Until about 1608, he wrote mainly tragedies, among them Hamlet, Othello, King Lear, and Macbeth, all considered to be among the finest works in the English language. In the last phase of his life, he wrote tragicomedies (also known as romances) and collaborated with other playwrights. Throughout the 20th and 21st centuries, Shakespeare's works have been continually adapted and rediscovered by new movements in scholarship and performance. His plays remain popular and are studied, performed, and reinterpreted through various cultural and political contexts around the world.
Descriere
Descriere de la o altă ediție sau format:
George Lyman Kittredge’s insightful editions of Shakespeare have endured in part because of his eclecticism, his diversity of interests, and his wide-ranging accomplishments, all of which are reflected in the valuable notes in each volume.
These new editions have specific emphasis on the performance histories of the plays (on stage and screen).
Features of each edition include:
- The original introduction to the Kittredge Edition
- Editor’s Introduction to the Focus Edition. An overview on major themes of the plays, and sections on the play’s performance history on stage and screen.
- Explanatory Notes. The explanatory notes either expand on Kittredge’s superb glosses, or, in the case of plays for which he did not write notes, give the needed explanations for Shakespeare’s sometimes demanding language.
- Performance notes. These appear separately and immediately below the textual footnotes and include discussions of noteworthy stagings of the plays, issues of interpretation, and film and stage choices.
- How to read the play as Performance Section. A discussion of the written play vs. the play as performed and the various ways in which Shakespeare’s words allow the reader to envision the work "off the page."
- Comprehensive Timeline. Covering major historical events (with brief annotations) as well as relevant details from Shakespeare’s life. Some of the Chronologies include time chronologies within the plays.
- Topics for Discussion and Further Study Section. Critical Issues: Dealing with the text in a larger context and considerations of character, genre, language, and interpretative problems. Performance Issues: Problems and intricacies of staging the play connected to chief issues discussed in the Focus Editions’ Introduction.
- Select Bibliography & Filmography
Each New Kittredge edition also includes screen grabs from major productions, for comparison and scene study.
Features of each edition include:
- The original introduction to the Kittredge Edition
- Editor’s Introduction to the Focus Edition. An overview on major themes of the plays, and sections on the play’s performance history on stage and screen.
- Explanatory Notes. The explanatory notes either expand on Kittredge’s superb glosses, or, in the case of plays for which he did not write notes, give the needed explanations for Shakespeare’s sometimes demanding language.
- Performance notes. These appear separately and immediately below the textual footnotes and include discussions of noteworthy stagings of the plays, issues of interpretation, and film and stage choices.
- How to read the play as Performance Section. A discussion of the written play vs. the play as performed and the various ways in which Shakespeare’s words allow the reader to envision the work "off the page."
- Comprehensive Timeline. Covering major historical events (with brief annotations) as well as relevant details from Shakespeare’s life. Some of the Chronologies include time chronologies within the plays.
- Topics for Discussion and Further Study Section. Critical Issues: Dealing with the text in a larger context and considerations of character, genre, language, and interpretative problems. Performance Issues: Problems and intricacies of staging the play connected to chief issues discussed in the Focus Editions’ Introduction.
- Select Bibliography & Filmography
Each New Kittredge edition also includes screen grabs from major productions, for comparison and scene study.
Recenzii
This edition of A Midsummer Night’s Dream is wonderfully lucid and thoughtful, offering supporting material that will appeal to readers from high school students to scholars. The introduction is especially thoughtful, offering, in addition to expected discussions of love, magic and imagination, an exploration of the theatrical history. The bibliography and filmography are both detailed and helpful, and the questions guide students to consider the play from many viewpoints without ever forcing an interpretation onto them.
- Annalisa Castaldo, Widener University
- Annalisa Castaldo, Widener University
Even as the New Kittredge Shakespeare series glances back to George Lyman Kittredge's student editions of the plays, it is very much of our current moment: the slim editions are targeted largely at high school and first-year college students who are more versed in visual than in print culture. Not only are the texts of the plays accompanied by photographs or stills from various stage and cinema performances: the editorial contributions are performance-oriented, offering surveys of contemporary film interpretations, essays on the plays as performance pieces, and an annotated filmography. Traditional editorial issues (competing versions of the text, cruxes, editorial emendation history) are for the most part excluded; the editions focus instead on clarifying the text with an eye to performing it. There is no disputing the pedagogic usefulness of the New Kittredge Shakespeare's performance-oriented approach. At times, however, it can run the risk of treating textual issues as impediments, rather than partners, to issues of performance. This is particularly the case with a textually vexed play such as Pericles: Prince of Tyre. In the introduction to the latter, Jeffrey Kahan notes the frequent unintelligibility of the play as originally published: "the chances of a reconstructed text matching what Shakespeare actually wrote are about 'nil'" (p. xiii) But his solution — to use a "traditional text" rather than one corrected as are the Oxford and Norton Pericles — obscures how this "traditional text," including its act and scene division, is itself a palimpsest produced through three centuries of editorial intervention. Nevertheless, the series does a service to its target audience with its emphasis on performance and dramaturgy. Kahan's own essay about his experiences as dramaturge for a college production of Pericles is very good indeed, particularly on the play's inability to purge the trace of incestuous desire that Pericles first encounters in Antioch. Other plays' cinematic histories: Annalisa Castaldo's edition of Henry V contrasts Laurence Oliver's and Branagh's film productions; Samuel Crowl's and James Wells's edition of (respectively) I and 2 Henry IV concentrate on Welle's Chimes at Midnight and Gus Van Sant's My Own Private Idaho; Patricia Lennox's edition of As You Like It offers an overview of four Hollywood and British film adaptations; and John R. Ford's edition of A Midsummer Night's Dream provides a spirited survey of the play's rich film history.
The differences between, and comparative merits of, various editorial series are suggested by the three editions of The Taming of the Shrew published this year. Laury Magnus's New Kittredge Shakespeare edition is, like the other New Kittredge volumes, a workable text for high school and first year college students interested in film and theater. The introduction elaborates on one theme — Elizabethan constructions of gender — and offers a very broad performance history, focusing on Sam Taylor's and Zeffirelli's film versions as well as adaptations such as Kiss Me Kate and Ten Things I Hate About You (accompanied by a still of ten hearthtrobs Heath Ledger and Julia Stiles). The volume is determined to eradicate any confusion that a first time reader of the play might experience: the dramatis personae page explains that "Bianca Minola" is "younger daughter to Baptista, wooed by Lucentio-in-disguise (as Cambio) and then wife to him, also wooed by the elderly Gremio and Hortensio-in-disguise (as Licio)" (p.1). Other editorial notes, based on Kittredge's own, are confined mostly to explaining individual words and phrases: additional footnotes discuss interpretive choices made by film and stage productions. Throughout, the editorial emphasis is on the play less as text than as performance piece, culminating in fifteen largely performance-oriented "study questions" on topics such as disguise, misogyny, and violence.
Studies in English Literature, Tudor and Stuart Drama, Volume 51, Spring 2011, Number 2, pages 497-499.
The differences between, and comparative merits of, various editorial series are suggested by the three editions of The Taming of the Shrew published this year. Laury Magnus's New Kittredge Shakespeare edition is, like the other New Kittredge volumes, a workable text for high school and first year college students interested in film and theater. The introduction elaborates on one theme — Elizabethan constructions of gender — and offers a very broad performance history, focusing on Sam Taylor's and Zeffirelli's film versions as well as adaptations such as Kiss Me Kate and Ten Things I Hate About You (accompanied by a still of ten hearthtrobs Heath Ledger and Julia Stiles). The volume is determined to eradicate any confusion that a first time reader of the play might experience: the dramatis personae page explains that "Bianca Minola" is "younger daughter to Baptista, wooed by Lucentio-in-disguise (as Cambio) and then wife to him, also wooed by the elderly Gremio and Hortensio-in-disguise (as Licio)" (p.1). Other editorial notes, based on Kittredge's own, are confined mostly to explaining individual words and phrases: additional footnotes discuss interpretive choices made by film and stage productions. Throughout, the editorial emphasis is on the play less as text than as performance piece, culminating in fifteen largely performance-oriented "study questions" on topics such as disguise, misogyny, and violence.
Studies in English Literature, Tudor and Stuart Drama, Volume 51, Spring 2011, Number 2, pages 497-499.
Appropriate for all level of Shakespeare courses, including courses on Shakespeare, or drama, or Renaissance drama as taught in departments of English, courses in Shakespeare or drama taught in departments of theater, Great Books programs where individual volumes might be used, or high school level courses.