Skip to main content Accessibility help
×
  • Cited by 5
Publisher:
Cambridge University Press
Online publication date:
June 2012
Print publication year:
2007
Online ISBN:
9780511816970

Book description

This lively and innovative introduction to Shakespeare promotes active engagement with the plays, rather than recycling factual information. Covering a range of texts, it is divided into seven subject-based chapters: Character; Performance; Texts; Language; Structure; Sources and History, and it does not assume any prior knowledge. Instead, it develops ways of thinking and provides the reader with resources for independent research through the 'Where next?' sections at the end of each chapter. The book draws on scholarship without being overwhelmed by it, and unlike other introductory guides to Shakespeare it emphasizes that there is space for new and fresh thinking by students and readers, even on the most-studied and familiar plays.

Reviews

‘… a dazzling, reader-friendly tutorial in reading Shakespearean drama.’

Emily Bartels - Rutgers University, New Jersey

'I’ll be entirely happy to recommend this to students. It’s accessible, it’s divided up by topic in a way that reflects the different approaches one might take to Shakespeare in class (e.g. structure/genre, historical context), the suggestions for further reading are realistic and helpful and include well-chosen online materials, and it’s framed in a way that invites further discussion either in the classroom or in the study.'

Tom Rutter - Sheffield Hallam University

Refine List

Actions for selected content:

Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Save to Kindle
  • Save to Dropbox
  • Save to Google Drive

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
×

Contents

Bibliography
Bibliography
Adamson, Sylvia et al. (eds.), Reading Shakespeare's Dramatic Language: A Guide (London: Thomson, 2001)
Adelman, Janet, Suffocating Mothers: Fantasies of Maternal Origin in Shakespeare's Plays, ‘Hamlet’ to ‘The Tempest’ (London: Routledge, 1992)
Alexander, Gavin (ed.), Sidney's ‘The Defence of Poesy’ and Selected Renaissance Literary Criticism, edited by Alexander, Gavin (London: Penguin, 2004)
Altman, Joel D., ‘“Vile Participation”: The Amplification of Violence in the Theatre of Henry V’, Shakespeare Quarterly 42 (1991)
Amussen, Susan Dwyer, ‘The Family and the Household’, in Kastan, David Scott (ed.), A Companion to Shakespeare (Oxford: Blackwell, 1999)
Aughterson, Kate (ed.), The English Renaissance: An Anthology of Sources and Documents (London: Routledge, 1998)
Barton, John, Playing Shakespeare (London: Methuen, 1984)
Bate, Jonathan, The Genius of Shakespeare (London: Picador, 1997)
Bate, W. Jackson, The Burden of the Past and the English Poet (London: Chatto and Windus, 1971)
Belsey, Catherine, The Subject of Tragedy: Identity and Difference in Renaissance Drama (London: Routledge, 1991)
Bennett, Andrew, The Author (London: Routledge, 2005)
Bennett, Andrew and Royle, Nicholas, Introduction to Literature, Criticism and Theory (3rd edn, Harlow: Pearson Longman, 2004)
Berry, Cicely, The Actor and his Text (London: Virgin, 1993)
Bloom, Harold, Shakespeare: The Invention of the Human (London: Fourth Estate, 1999)
Bloom, HaroldThe Anxiety of Influence (2nd edn, Oxford: Oxford University Press, 1997)
Bradley, A. C., Shakespearean Tragedy (London: Macmillan, 1904)
Bullough, Geoffrey, Narrative and Dramatic Sources of Shakespeare (London: Routledge and Kegan Paul, 1957–75)
Burke, Seán (ed.), Authorship, from Plato to the Postmodern: A Reader (Edinburgh: Edinburgh University Press, 2000)
Burt, Richard, and Lynda, E. Boose (eds.), Shakespeare the Movie II: Popularising the Plays on Film, TV, Video, and DVD (London: Routledge, 2003)
Callaghan, Dympna, Shakespeare Without Women: Representing Gender and Race on the Renaissance Stage (London: Routledge, 1999)
Callow, Simon, Henry IV Part 1 and Part II: Actors on Shakespeare (London: Faber, 2002)
Cartmell, Deborah, Interpreting Shakespeare on Screen (Basingstoke: Macmillan, 2000)
Cerasano, S. P. (ed.), The Merchant of Venice: A Sourcebook (London: Routledge, 2004)
Cerasano, S. P. and Wynne-Davies, Marion (eds.), Gloriana's Face: Women, Public and Private, in the English Renaissance (London: Harvester Wheatsheaf, 1992)
Chambers, E. K., The Elizabethan Stage (Oxford: Clarendon Press, 1923)
Clare, Janet, ‘Art made Tongue-Tied by Authority’: Elizabethan and Jacobean Dramatic Censorship (2nd edn, Manchester: Manchester University Press, 1999)
Cloud, Random, ‘“The Very Names of the Persons”: Editing and the Invention of Dramatick Character’, in Kastan, David Scott and Stallybrass, Peter (eds), Staging the Renaissance: Reinterpretations of Elizabethan and Jacobean Drama (London: Routledge, 1991)
Cloud, RandomThe Marriage of Good and Bad Quartos’, in Shakespeare Quarterly 33 (1982)
Cordner, Michael, ‘Actors, Editors, and the Annotation of Shakespearean Playscripts’, Shakespeare Survey 55 (2002)
Cox, John (ed.), Shakespeare in Production: Much Ado About Nothing (Cambridge: Cambridge University Press, 1997)
Crystal, David, The Cambridge Encyclopedia of the English Language (Cambridge: Cambridge University Press, 1999)
de Grazia, Margreta, ‘The Scandal of Shakespeare's Sonnets’, Shakespeare Studies 46 (1993), reprinted in Shakespeare and Sexuality, ed. Alexander, Catherine (Cambridge: Cambridge University Press, 2001)
Grazia, MargretaHamlet without ‘Hamlet’ (forthcoming, Cambridge: Cambridge University Press, 2007)
Grazia, Margreta and Wells, Stanley (eds.), The Cambridge Companion to Shakespeare (Cambridge: Cambridge University Press, 2001)
Grazia, Margreta, and Stallybrass, Peter, ‘The Materiality of the Shakespearean Text’, in Shakespeare Quarterly 44 (1993)
di Gangi, Mario, The Homoerotics of Early Modern Drama (Cambridge: Cambridge University Press, 1997)
Duncan-Jones, Katherine, Ungentle Shakespeare: Scenes from his Life (London: Arden Shakespeare, 2001)
Dutton, Richard, Mastering the Revels: The Regulation and Censorship of English Renaissance Drama (Basingstoke: Macmillan, 1991)
Dymkowski, Christine (ed.), Shakespeare in Production: The Tempest (Cambridge: Cambridge University Press, 2000)
Edelman, Charles (ed.), Shakespeare in Production: The Merchant of Venice (Cambridge: Cambridge University Press, 2002)
Fielding, Emma, Twelfth Night: Actors on Shakespeare (London: Faber, 2002)
Fitter, Chris, ‘Historicising Shakespeare's Richard II: Current Events, Dating, and the Sabotage of Essex’, Early Modern Literary Studies 11. 2 (September, 2005) at http://purl.oclc.org/emls/11-2/fittric2.htm
Frances, Shirley (ed.), Shakespeare in Production: Troilus and Cressida (Cambridge: Cambridge University Press, 2005)
Goldberg, Jonathan, Sodometries: Renaissance Texts, Modern Sexualities (Stanford Calif.: Stanford University Press, 1992)
Greenblatt, Stephen, Will in the World: How Shakespeare Became Shakespeare (London: Jonathan Cape, 2004)
Griffiths, Trevor, Shakespeare in Production: A Midsummer Night's Dream (Cambridge: Cambridge University Press, 1996)
Hadfield, Andrew (ed.), Othello: A Sourcebook (London: Routledge, 2003)
Hankey, Julie (ed.), Shakespeare in Production: Othello (2nd edn, Cambridge: Cambridge University Press, 2005)
Hapgood, Robert (ed.), Shakespeare in Production: Hamlet (Cambridge: Cambridge University Press, 1999)
Holderness, Graham, Shakespeare Recycled: The Making of Historical Drama, (London: Harvester Wheatsheaf, 1992)
Holmes, Jonathan, Merely Players? Actors' Accounts of Performing Shakespeare (London: Routledge, 2004)
Honan, Park, Shakespeare: A Life (Oxford: Oxford University Press, 2000)
Howard, Jean, ‘Crossdressing, the Theatre and Gender Struggle in Early Modern England’, Shakespeare Quarterly 39 (1988)
Ingram, Martin, ‘Love, Sex and Marriage’, in Shakespeare: An Oxford Guide, eds. Wells, Stanley and Orlin, Lena Cowen (Oxford: Oxford University Press, 2003)
Ioppolo, Grace (ed.), King Lear: A Sourcebook (London: Routledge, 2002)
Jackson, Russell (ed.), The Cambridge Companion to Shakespeare on Film (Cambridge: Cambridge University Press, 2000)
Jones, James Earl, Othello: Actors on Shakespeare (London: Faber, 2003)
Jorgens, Jack, Shakespeare on Film (Bloomington and London: Indiana University Press, 1977)
Kastan, David Scott, Shakespeare after Theory (London: Routledge, 1999)
Kastan, David Scott (ed.), A Companion to Shakespeare (Oxford: Blackwell, 1999)
Kermode, Frank, Shakespeare's Language (London: Penguin, 2001)
Kiernan, Pauline, Staging Shakespeare at the New Globe (Basingstoke: Macmillan, 1999)
Knights, L. C., Explorations: Essays in Criticism (London: Chatto and Windus, 1946)
Kott, Jan, Shakespeare our Contemporary (New York: Doubleday, 1964)
Kozintsev, Grigori, King Lear: The Space of Tragedy (London: Heinemann, 1977)
Leggatt, Alexander (ed.), Macbeth: A Sourcebook (London: Routledge, 2005)
Lentricchia, Frank and McLaughlin, Thomas, Critical Terms for Literary Study (2nd edn, Chicago: University of Chicago Press, 1995)
Loehlin, James (ed.), Shakespeare in Production: Romeo and Juliet (Cambridge: Cambridge University Press, 2002)
Madelaine, Richard (ed.), Shakespeare in Production: Antony and Cleopatra (Cambridge: Cambridge University Press, 1998)
Maguire, Laurie E., ‘Feminist Editing and the Body of the Text’, in Callaghan, Dympna (ed.), A Feminist Companion to Shakespeare (Oxford: Blackwell, 2000)
Marcus, Leah, Unediting the Renaissance: Shakespeare, Marlowe, Milton (London: Routledge, 1996)
Marshall, Cynthia (ed.), Shakespeare in Production: As You Like It (Cambridge: Cambridge University Press, 2004)
Maus, Katherine, Inwardness and Theater in the English Renaissance (Chicago and London: University of Chicago Press, 1995)
McEvoy, Sean (ed.), Hamlet: A Sourcebook (London: Routledge, 2005)
Mullaney, Steven, ‘Mourning and Misogyny: Hamlet and the Final Progress of Elizabeth I’, Shakespeare Quarterly 45 (1994) and reprinted in Chedgzoy, Kate, Shakespeare, Feminism and Gender (Basingstoke: Palgrave, 2001)
Neill, Michael, ‘Broken English and Broken Irish: Nation, Language, and the Optic of Power in Shakespeare's Histories’, Shakespeare Quarterly 45 (1994)
Neill, MichaelIssues of Death: Mortality and Identity in English Renaissance Tragedy (Oxford: Oxford University Press, 1997)
Orgel, Stephen, Impersonations: the Performance of Gender in Shakespeare's England (Cambridge: Cambridge University Press, 1996)
Palfrey, Simon, Doing Shakespeare (London: Arden Shakespeare, 2005)
Pequigney, Joseph, Such is My Love: A Study of Shakespeare's Sonnets (Chicago and London: University of Chicago Press, 1985)
Redgrave, Vanessa, Antony and Cleopatra: Actors on Shakespeare (London: Faber, 2002)
Reeves, Saskia, Much Ado About Nothing: Actors on Shakespeare (London: Faber, 2003)
Rice, Philip and Waugh, Patricia (eds.), Modern Literary Theory (London: Edward Arnold, 4th edn, 2001)
Rodenburg, Patsy, Speaking Shakespeare (London: Methuen, 2005)
Rose, Mary Beth, ‘Where are the Mothers in Shakespeare: Options for Gender Representation in the English Renaissance’, Shakespeare Quarterly 42 (1991)
Schafer, Elizabeth (ed.), Shakespeare in Production: The Taming of the Shrew (Cambridge: Cambridge University Press, 2002)
Shapiro, James, 1599: A Year in the Life of William Shakespeare (London: Faber, 2005)
Sinfield, Alan, Faultlines: Cultural Materialism and the Politics of Dissident Reading (Oxford: Clarendon Press, 1992)
Smiley, Jane, A Thousand Acres (London: Flamingo, 1992)
Smith, Emma (ed.), Blackwell Guides to Criticism: Shakespeare's Tragedies (Oxford: Blackwell, 2004)
Smith, EmmaBlackwell Guides to Criticism: Shakespeare's Histories (Oxford: Blackwell, 2004)
Smith, EmmaShakespeare in Production: King Henry V (Cambridge: Cambridge University Press, 2002)
Snyder, Susan, ‘The Genres of Shakespeare's Plays’, in Grazia, Margreta and Wells, Stanley (eds.), The Cambridge Companion to Shakespeare (Cambridge: Cambridge University Press, 2001)
Spurgeon, Caroline, Shakespeare's Imagery and What it Tells Us (Cambridge: Cambridge University Press, 1935)
Stern, Tiffany, Making Shakespeare: From Stage to Page (London: Routledge, 2004)
Tillyard, E. M. W., Shakespeare's History Plays (London: Chatto and Windus, 1944)
Traub, Valerie, The Renaissance of Lesbianism in Early Modern England (Cambridge: Cambridge University Press, 2002)
Urkowitz, Steven, ‘Good News about ‘Bad’ Quartos’, in Charney, Maurice (ed.), ‘Bad’ Shakespeare: Revaluations of the Shakespeare Canon(Rutherford, NJ: Fairleigh Dickinson University Press, 1988)
Vaughan, Virginia Mason, Othello: A Contextual History (Cambridge: Cambridge University Press, 1994)
Vaughan, Virginia MasonPerforming Blackness on Renaissance Stages 1500–1800 (Cambridge: Cambridge University Press, 2005)
Vickers, Brian, ed., English Renaissance Literary Criticism, Oxford: Oxford University Press, 1999
Walter, Harriet, Macbeth: Actors on Shakespeare (London: Faber, 2002)
Warner, Marina, From the Beast to the Blonde: On Fairy Tales and their Tellers (London: Chatto and Windus, 1994)
Warren, Michael, and Taylor, Gary, The Division of the Kingdoms: Shakespeare's Two Versions of ‘King Lear’ (Oxford: Oxford University Press, 1983)
Wells, Stanley and Orlin, Lena Cowen, Shakespeare: An Oxford Guide (Oxford: Oxford University Press, 2003)
Wilders, John (ed.), Shakespeare in Production: Macbeth (Cambridge: Cambridge University Press, 2004)
Worden, Blair, ‘Which Play was Performed at the Globe Theatre on 7 February 1601?London Review of Books (10 July 2003)

Metrics

Altmetric attention score

Full text views

Total number of HTML views: 0
Total number of PDF views: 0 *
Loading metrics...

Book summary page views

Total views: 0 *
Loading metrics...

* Views captured on Cambridge Core between #date#. This data will be updated every 24 hours.

Usage data cannot currently be displayed.