Twelfth Night: Collins Classics
Autor William Shakespeareen Limba Engleză Paperback – 15 sep 2011
Observăm că această ediție a piesei CLASSICS TWELFTH NIGHT de William Shakespeare, publicată de HarperCollins Publishers, este structurată pentru a servi drept instrument de lucru esențial în studiul literaturii dramatice. Metodologia editorială pune accent pe accesibilitatea textului original, completându-l cu un glosar riguros care explică arhaismele și termenii specifici epocii elisabetane. Volumul nu se rezumă doar la textul piesei, ci integrează o secțiune biografică („Life and Times”) care ancorează opera în contextul său istoric, oferind totodată și o perspectivă asupra istoriei editurii Collins. Găsim în acest format de tip „paperback” un echilibru între estetica modernă a coperților alb-negru și rigoarea academică necesară la clasă. Comparabil cu ediția din seria Collins Classroom Classics în ceea ce privește rigoarea notelor explicative, acest volum se distinge prin designul grafic minimalist și includerea unor resurse contextuale mai concise, fiind ideal pentru cititorul care dorește un aparat critic esențial fără a supraîncărca volumul. Notăm cu interes că, deși alte ediții precum William Shakespeare's Twelfth Night de Sonia Massai din seria Routledge Guides to Literature se concentrează pe istoria critică și sursele textului, versiunea de față prioritizează experiența lecturii directe, fiind susținută de instrumente de referință rapidă. Structura clară și dimensiunile reduse o fac potrivită atât pentru bibliotecile personale, cât și pentru studiul individual în pregătirea examenelor de literatură engleză.
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Specificații
ISBN-13: 9780007902385
ISBN-10: 0007902387
Pagini: 288
Dimensiuni: 113 x 181 x 24 mm
Greutate: 0.13 kg
Editura: HarperCollins Publishers
Colecția Collins Classics
Seria Collins Classics
ISBN-10: 0007902387
Pagini: 288
Dimensiuni: 113 x 181 x 24 mm
Greutate: 0.13 kg
Editura: HarperCollins Publishers
Colecția Collins Classics
Seria Collins Classics
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De ce să citești această carte
Această ediție a comediei TWELFTH NIGHT este ideală pentru elevii și studenții care studiază opera lui William Shakespeare. Cititorul beneficiază de un text îngrijit, susținut de un glosar util și date istorice despre autor, facilitând înțelegerea nuanțelor limbajului elisabetan. Este o alegere practică pentru cei care doresc o ediție durabilă, estetică și accesibilă pentru studiu sau lectură de plăcere.
Despre autor
William Shakespeare (1564–1616), supranumit „Bardul din Avon”, este considerat cel mai mare scriitor de limbă engleză și cel mai influent dramaturg al lumii. Opera sa vastă cuprinde 38 de piese de teatru și 154 de sonete, fiind tradusă în toate limbile moderne majore. Cariera sa de succes în Londra, ca actor și acționar al companiei Lord Chamberlain's Men, i-a permis să exploreze o gamă largă de genuri, de la comedii rafinate la tragedii profunde precum Hamlet sau Macbeth. Twelfth Night aparține perioadei sale de maturitate artistică în genul comediei, reflectând geniul său în crearea unor personaje complexe și a unor intrigi pline de spirit.
Descriere
New editions of Shakespeare's plays, in a new series with striking black and white cover designs. They also include a glossary, a life and times section and a history of Collins.
Textul de pe ultima copertă
Twelfth Night has seldom been off the stage since Shakespeare's day. It has been performed for its romantic high comedy and its boisterous low comedy; with an emphasis on farce or on autumnal melancholy; as straightforward celebration of heterosexual love and marriage or as exploration of the complexity of gender. David Carnegie and Mark Houlahan's introduction to the play provides a lively discussion of the play's performance history, and encourages readers to think about stagecraft and the play as a performance text, while the historical appendices provide materials that illuminate different thematic elements of the play. Extended notes interleaved throughout the play present relevant illustrations and expand on mythological, historical, and religious references in the play. The accompanying online text will offer additional commentary on staging alternatives and more extensive visual materials.
Recenzii
Gayle Gaskill offers appropriate tribute to G.L. Kittredge by updating his classic edition with a mastery, thoroughness, and verve worthy of the original. This excellent edition is marked by impeccable scholarship that everywhere displays careful attention to detail and keen sensitivity to the needs of modern readers.
—John W. Mahon, Co-Editor, The Shakespeare Newsletter, and Professor of English, Iona College.
—John W. Mahon, Co-Editor, The Shakespeare Newsletter, and Professor of English, Iona College.
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.
“Gayle Gaskill offers appropriate tribute to G.L. Kittredge by updating his classic tradition with a mastery, thoroughness, and verve worthy of the original. This excellent edition is marked by impeccable scholarship that everywhere displays careful attention to detail and keen sensitivity to the needs of modern readers.” —John W. Mahon, Co-Editor, The Shakespearean Newsletter and Professor of English, Iona College
George Lyman Kittredge’s insightful editions of Shakespeare have endured in part because of this eclecticism, his diversity of interests, and his wide-ranging accomplishments—all of which are reflected in the valuable notes in each volume. The plays in the New Kittredge Shakespeare series retain the original Kittredge notes and introductions, changed or augmented only when some modernization seems necessary. These new editions also include introductory essays by contemporary editors, notes on the plays as they have been performed on stage and film, and additional student materials.
These plays are being made available by Focus Publishing with the permission of the Kittredge heirs.
Gayle Gaskill is professor of English at St. Catherine University in St. Paul, Minnesota. She has contributed articles to Who Hears in Shakespeare?: Auditory Worlds on Stage and Screen (Fairleigh Dickinson 2012), The Merchant of Venice: Critical Essays (Routledge 2002), The Shakespeare Newsletter, and the Greenwood Companion to Shakespeare. Her reviews have appeared in Renaissance Quarterly and Cahiers Élisabéthains.
George Lyman Kittredge’s insightful editions of Shakespeare have endured in part because of this eclecticism, his diversity of interests, and his wide-ranging accomplishments—all of which are reflected in the valuable notes in each volume. The plays in the New Kittredge Shakespeare series retain the original Kittredge notes and introductions, changed or augmented only when some modernization seems necessary. These new editions also include introductory essays by contemporary editors, notes on the plays as they have been performed on stage and film, and additional student materials.
These plays are being made available by Focus Publishing with the permission of the Kittredge heirs.
Gayle Gaskill is professor of English at St. Catherine University in St. Paul, Minnesota. She has contributed articles to Who Hears in Shakespeare?: Auditory Worlds on Stage and Screen (Fairleigh Dickinson 2012), The Merchant of Venice: Critical Essays (Routledge 2002), The Shakespeare Newsletter, and the Greenwood Companion to Shakespeare. Her reviews have appeared in Renaissance Quarterly and Cahiers Élisabéthains.
Notă biografică
William Shakespeare (bapt. 26 April 1564 - 23 April 1616) was an English playwright, poet, 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" (or simply "the Bard"). His extant works, including collaborations, consist of some 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. They also continue to be studied and reinterpreted. Shakespeare was born and raised in Stratford-upon-Avon, Warwickshire. At the age of 18, he married Anne Hathaway, with whom he had three children: Susanna and twins Hamnet and Judith. 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. At age 49 (around 1613), he appears to have retired to Stratford, where he died three years later. Few records of Shakespeare's private life survive; this has stimulated considerable speculation about such matters as his physical appearance, his sexuality, his religious beliefs, and whether the works attributed to him were written by others. Shakespeare produced most of his known works between 1589 and 1613.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, Romeo and Juliet, 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. Many of Shakespeare's plays were published in editions of varying quality and accuracy in his lifetime. However, in 1623, two fellow actors and friends of Shakespeare's, John Heminges and Henry Condell, published a more definitive text known as the First Folio, a posthumous collected edition of Shakespeare's dramatic works that included all but two of his plays. The volume was prefaced with a poem by Ben Jonson, in which Jonson presciently hails Shakespeare in a now-famous quote as "not of an age, but for all time".
Cuprins
About the Series
About This Volume
List of Illustrations
Introduction
PART ONE:
WILLIAM SHAKESPEARE, TWELFTH NIGHT, OR WHAT YOU WILL
EDITED BY DAVID BEVINGTON
PART TWO:
Cultural Contexts
1. Romance
Sir Benjamin Rudyerd, From Le Prince d'Amour, or The Prince of Love
Place
George Sandys, From A Relation of a Journey Begun Anno Domini 1610
Roger Ascham, From The Schoolmaster
Barnaby Rich, From Barnaby Rich His Farewell to the Military Profession
Time
From The Book of Common Prayer
Henry Bourne, From Antiquitates Vulgares, or the Antiquities of the Common People
2. Music
Musical Resources
Aristotle (Attributed), From The Problems of Aristotle, with Other Philosophers and Physicians
Anthony Gibson, From A Woman's Worth Defended Against All the Men in the World
Mind and Bodies
Ovid, from Ovid's Metamorphosis Englished, Mythologized, and Represented in Figures
Plutarch, From Lives of the Noble Grecians and Romans Compared Together
John Case (Attributed), From The Praise of Music
Thomas Wright, From The Passions of the Mind in General
3. Sexuality
Will and Passion
William Shakespeare, from Shake-spear's Sonnets, Never Before Imprinted
Heart, Soul, and Genitalia
Thomas Wright, From The Passions of the Mind in General
Helkiah Crooke, From Microcosmographia: A Description of the Body of Man
Ovid, From The Heroical Epistles of Publius Ovidius Naso in English Verse
John Donne, Sappho to Philaenis
John Lyly, From Gallathea
From The Whole Volume of Statutes at Large and Sir Edward Coke, From The Third Part of the Institutes of the Laws of England
Michel de Montaigne, From Essays
Francis Beaumont, from Salmacis and Hermaphroditus
4. Clothing and Disguise
From Of Excess of Apparel
Edward Alleyn and Philip Henslowe, An Inventory of Costumes
Social Rank
A Proclamation Enforcing Statutes and Proclamations of Apparel,
Robert Greene, from A Quip for an Upstart Courtier
I. T. (or J. T.), from The Haven of Pleasure Containing a Direction How to Live Well
Gender
Sir Philip Sidney, from Arcadia
From Hic Mulier, or The Man-Woman and From Haec-Vir, or The Womanish Man
Eight Accounts of Boy Actors
5. Household Economies
Decorum
Stephano Guazzo, From Civil Conversation
William Vaughan, From The Golden Grove Moralized in Three Books
Traditional Hospitality
Ben Jonson, To Penshurst
From Grievous Groans for the Poor
Donald Lupton, From London and the Country Cardonadoed and Quartered into Several Characters
Puritan Ideals
I. T. (or J. T.), From The Haven of Pleasure, Containing a Free Man's Felicity and a True Direction How to Live Well
William Perkins, From Christian Economy
Alternative Households
William Prynne, from Histrio-Mastix, The Players' Scourge or Actors' Tragedy
Augustine Phillips, Last Will and Testament
6. Puritan Probity
Sir Thomas Overbury, From A Wife . . . Whereunto Are Added Many Witty Characters
Religion
William Bradshaw, from English Puritanism
Richard Bancroft, from A Survey of the Pretended Holy Discipline
Economics
Robert Cleaver and John Dod, From A Godly Form of Household Government
The Politics of Mirth
Phillip Stubbes, from The Anatomy of Abuses in Ailgna
James I and Charles I. The King's Majesty's Declaration to His Subjects Concerning Lawful Sports to be Used
7. Clowning and Laughter
Quintilian, from Institutio Oratoria
Robert Armin's Career
Robert Armin, From Fool upon Fool, or Six Sorts of Sots
Robert Armin, From Quips upon Questions, or A Clown's Conceit on Occasion Offered
Theories of Laughter
Plato, from Philebus
Plato, from Republic
Aristotle, from Nicomachean Ethics
Giovanni della Casa, From Galateo . . . or rather A Treatise of the Manners and Behaviors It Behooveth a Man to Use and Eschew
Quintilian, from Institutio Oratoria
Laurent Joubert, From Treatise on Laughter
Sir Philip Sidney, From A Defense of Poesy
Bibliography
Index
About This Volume
List of Illustrations
Introduction
PART ONE:
WILLIAM SHAKESPEARE, TWELFTH NIGHT, OR WHAT YOU WILL
EDITED BY DAVID BEVINGTON
PART TWO:
Cultural Contexts
1. Romance
Sir Benjamin Rudyerd, From Le Prince d'Amour, or The Prince of Love
Place
George Sandys, From A Relation of a Journey Begun Anno Domini 1610
Roger Ascham, From The Schoolmaster
Barnaby Rich, From Barnaby Rich His Farewell to the Military Profession
Time
From The Book of Common Prayer
Henry Bourne, From Antiquitates Vulgares, or the Antiquities of the Common People
2. Music
Musical Resources
Aristotle (Attributed), From The Problems of Aristotle, with Other Philosophers and Physicians
Anthony Gibson, From A Woman's Worth Defended Against All the Men in the World
Mind and Bodies
Ovid, from Ovid's Metamorphosis Englished, Mythologized, and Represented in Figures
Plutarch, From Lives of the Noble Grecians and Romans Compared Together
John Case (Attributed), From The Praise of Music
Thomas Wright, From The Passions of the Mind in General
3. Sexuality
Will and Passion
William Shakespeare, from Shake-spear's Sonnets, Never Before Imprinted
Heart, Soul, and Genitalia
Thomas Wright, From The Passions of the Mind in General
Helkiah Crooke, From Microcosmographia: A Description of the Body of Man
Ovid, From The Heroical Epistles of Publius Ovidius Naso in English Verse
John Donne, Sappho to Philaenis
John Lyly, From Gallathea
From The Whole Volume of Statutes at Large and Sir Edward Coke, From The Third Part of the Institutes of the Laws of England
Michel de Montaigne, From Essays
Francis Beaumont, from Salmacis and Hermaphroditus
4. Clothing and Disguise
From Of Excess of Apparel
Edward Alleyn and Philip Henslowe, An Inventory of Costumes
Social Rank
A Proclamation Enforcing Statutes and Proclamations of Apparel,
Robert Greene, from A Quip for an Upstart Courtier
I. T. (or J. T.), from The Haven of Pleasure Containing a Direction How to Live Well
Gender
Sir Philip Sidney, from Arcadia
From Hic Mulier, or The Man-Woman and From Haec-Vir, or The Womanish Man
Eight Accounts of Boy Actors
5. Household Economies
Decorum
Stephano Guazzo, From Civil Conversation
William Vaughan, From The Golden Grove Moralized in Three Books
Traditional Hospitality
Ben Jonson, To Penshurst
From Grievous Groans for the Poor
Donald Lupton, From London and the Country Cardonadoed and Quartered into Several Characters
Puritan Ideals
I. T. (or J. T.), From The Haven of Pleasure, Containing a Free Man's Felicity and a True Direction How to Live Well
William Perkins, From Christian Economy
Alternative Households
William Prynne, from Histrio-Mastix, The Players' Scourge or Actors' Tragedy
Augustine Phillips, Last Will and Testament
6. Puritan Probity
Sir Thomas Overbury, From A Wife . . . Whereunto Are Added Many Witty Characters
Religion
William Bradshaw, from English Puritanism
Richard Bancroft, from A Survey of the Pretended Holy Discipline
Economics
Robert Cleaver and John Dod, From A Godly Form of Household Government
The Politics of Mirth
Phillip Stubbes, from The Anatomy of Abuses in Ailgna
James I and Charles I. The King's Majesty's Declaration to His Subjects Concerning Lawful Sports to be Used
7. Clowning and Laughter
Quintilian, from Institutio Oratoria
Robert Armin's Career
Robert Armin, From Fool upon Fool, or Six Sorts of Sots
Robert Armin, From Quips upon Questions, or A Clown's Conceit on Occasion Offered
Theories of Laughter
Plato, from Philebus
Plato, from Republic
Aristotle, from Nicomachean Ethics
Giovanni della Casa, From Galateo . . . or rather A Treatise of the Manners and Behaviors It Behooveth a Man to Use and Eschew
Quintilian, from Institutio Oratoria
Laurent Joubert, From Treatise on Laughter
Sir Philip Sidney, From A Defense of Poesy
Bibliography
Index