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As You Like It de William Shakespeare

As You Like It: Random House Publishing Group

Autor William Shakespeare Editat de David Bevington, David Scott Kastan
en Limba Engleză Paperback – 1988
This wisely funny comedy, which contains some of Shakespeare’s loveliest poetry, contrasts a court’s world of envy and rivalry with a forest’s world of compassion and harmony. In the Forest of Arden, the banished young heroine, Rosalind, disguised as a gentleman farmer, encounters an extraordinary assemblage of characters, including a fool, a malcontent traveler, her own banished father, and the banished young man she loves. Romantic happiness triumphs, even as we laugh at the excesses of love, at the ways of court and countryside, indeed, at everything, in this masterpiece of comic writing.

Each Edition Includes:
• Comprehensive explanatory notes
• Vivid introductions and the most up-to-date scholarship
• Clear, modernized spelling and punctuation, enabling contemporary readers to understand the Elizabethan English
• Completely updated, detailed bibliographies and performance histories
• An interpretive essay on film adaptations of the play, along with an extensive filmography
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Specificații

ISBN-13: 9780553212907
ISBN-10: 0553212907
Pagini: 290
Dimensiuni: 106 x 175 x 11 mm
Greutate: 0.14 kg
Editura: Random House
Colecția Random House Publishing Group
Seria Random House Publishing Group

Notă biografică

William Shakespeare was born in Stratford-upon-Avon in April 1564, and his birth is traditionally celebrated on April 23. The facts of his life, known from surviving documents, are sparse. He was one of eight children born to John Shakespeare, a merchant of some standing in his community. William probably went to the King’s New School in Stratford, but he had no university education. In November 1582, at the age of eighteen, he married Anne Hathaway, eight years his senior, who was pregnant with their first child, Susanna. She was born on May 26, 1583. Twins, a boy, Hamnet ( who would die at age eleven), and a girl, Judith, were born in 1585. By 1592 Shakespeare had gone to London working as an actor and already known as a playwright. A rival dramatist, Robert Greene, referred to him as “an upstart crow, beautified with our feathers.” Shakespeare became a principal shareholder and playwright of the successful acting troupe, the Lord Chamberlain’s Men (later under James I, called the King’ s Men). In 1599 the Lord Chamberlain’s Men built and occupied the Globe Theater in Southwark near the Thames River. Here many of Shakespeare’s plays were performed by the most famous actors of his time, including Richard Burbage, Will Kempe, and Robert Armin. In addition to his 37 plays, Shakespeare had a hand in others, including Sir Thomas More and The Two Noble Kinsmen, and he wrote poems, including Venus and Adonis and The Rape of Lucrece. His 154 sonnets were published, probably without his authorization, in 1609. In 1611 or 1612 he gave up his lodgings in London and devoted more and more time to retirement in Stratford, though he continued writing such plays as The Tempest and Henry VII until about 1613. He died on April 23 1616, and was buried in Holy Trinity Church, Stratford. No collected edition of his plays was published during his life-time, but in 1623 two members of his acting company, John Heminges and Henry Condell, put together the great collection now called the First Folio.

Textul de pe ultima copertă

Those who look to comedy for amusement, laughter, a play of the mind, here also find Shakespeare's plenty.

Descriere

The Bantam Classics makeover continues in Summer 2005--and beyond! With bright new cover art and interiors reset for enhanced readability, the line that makes great literature available, accessible, and affordable, is now better than ever . . . while still delivering authoritative translations, critical biographies, and in-book essays that provide scholarship and entertainment.

Recenzii

Now, in the twenty-first century, Patricia Lennox broadens that understanding in her excellent edition of As You Like It where she draws on her knowledge of international film and television. She offers new meaning for modern readers who, while they savor Shakespeare’s language also understand visual signals from contemporary media.
- Irene G. Dash, Hunter College, CUNY, retired

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.

Apprpriate for courses in Shakespeare in departments of English where separate volumes are used; drama genre coures, or Renaissance drama, as taught in departments of English or theater;also often honors cores, or great book programs. Also high school English departments.

Cuprins

ACKNOWLEDGEMENTS
INTRODUCTION
SHAKESPEARE’S LIFE
SHAKESPEARE’S THEATER
WILLIAM SHAKESPEARE: A BRIEF CHRONOLOGY
A NOTE ON THE TEXT
ABBREVIATIONS
AS YOU LIKE IT
APPENDIX A: SOURCES AND INFLUENCES
  1. From Thomas Lodge, Rosalind (1590)
  2. From “The Tale of Gamelyn” (14th Century)
  3. From “Robin Hood and the Beggar”
  4. From John Lyly, Galatea (1592)
  5. From Ben Jonson, Every Man in His Humor (1598)
  6. From Joseph Hall, Satires (1598)
APPENDIX B: CLASSICAL MYTHS IN AS YOU LIKE IT
BIBLIOGRAPHY