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威廉·莎士比亚(剑桥文学名家研习系列)(Thfe Cambridge Introduction to Shakespeare)

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  分類: 图书,传记,文学家,英国,
  品牌: 史密斯

基本信息·出版社:上海外语教育出版社

·页码:166 页

·出版日期:2008年

·ISBN:7544607488/9787544607483

·条形码:9787544607483

·包装版本:1版

·装帧:平装

·开本:32

·正文语种:英语

·丛书名:剑桥文学名家研习系列

·外文书名:Thfe Cambridge Introduction to Shakespeare

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内容简介《威廉·莎士比亚》从莎剧的人物、演出、文本、语言、结构、素材以及与时代的关系七大视角出发,直接抓住了莎剧艺术的主要特点,积极将读者导入莎剧,论述有理有据,蹊径独辟,证明了莎剧文本的研究大有创新的空间。

“……一部深入浅出、令人耳目一新的莎剧指南。”

编辑推荐本系列旨在为学生引荐英美文学名家,内容亲和,语言生动,对有意提高西方文学素养的读者很有吸引力。

·学生、教师、专题主讲者均适用

·简明扼要、信息丰富

·配有进一步研究的书目

目录

List of figures and tables

Preface

Chapter 1 Character

Juliet's balcony, Verona

Shakespeare's realism?

Shakespeare's 'unreal' characters

Reading Shakespeare's characters on the page

Embodying Shakespeare's characters on stage

Doubling on the early modern stage

Writing for particular actors

Falstaff:character as individual or type?

Naming and individuality

Characters as individuals or as inter-relationships

Character:interior or exterior?

Character:where next?

Chapter 2 Performance

Measure for Measure. staging silence

‘Going back to the text’:the challenge of performance

Performance interpretations:The Taming of the Shrew

Topical performance:the plays in different theatrical contexts

Citing performances

Using film

Using film comparatively:Macbeth

Hamlet:‘To be or not to be’

Adaptations:Shakespearean enough?

Performance:where next?

Chapter 3 Texts

Shakespeare's hand

So what did Shakespeare write?

Stage to page

Quartos and Folio

Editing as interpretation

The job of the editor:the example of Richard Ⅱ

Stage directions

Speech prefixes

The job of the editor:the example of KingLear

Texts:where next?

Chapter 4 Language

‘In a double sense’(Macbeth 5.7.50)

Did anyone really talk like that?

Playing with language

Language of the play/language of the person

Prose and verse

Linguistic shifts:i Henry Ⅳ

Shakespeare's verse

Linguistic variation:A Midsummer Night's Dream

Language:where next?

Chapter 5 Structure

Finding the heart of the play

Shakespeare's genres:dynamic, not static

Tragedy and comedy

Tragedy-expanding the genre

Comedy-expanding the genre

History:is this a fixed genre?

Structuring scenes:Much Ado About Nothing

Juxtaposing scenes, activating ironies:Henry V

Showing v. telling

Structure:where next?

Chapter 6 Sources

Antony and Cleopatra and Plutarch

Originality:was Shakespeare a plagiarist?

Shakespeare at work:the intentional fallacy?

The source bites back:Romeo and Juliet and The Winter's Tale

The strong poet? King Lear

Sources:where next?

Chapter 7 History

Politic picklocks:interpreting topically

History plays:political Shakespeare?

History plays:Shakespeare as propagandist?

Hamlet as history play?

Jacobean patronage:King Lear and Macbeth

Historical specificity:gender roles

Race and Othello

History:where next?

Bibliography

Index

……[看更多目录]

序言为了帮助广大读者特别是英语专业学生学习英国文学,上海外语教育出版社从国外引进了这套“剑桥文学名家研习系列”丛书。正如封底文字所说,本系列丛书旨在向学生介绍英美经典作家,而普通读者如果想进一步了解自己所喜爱的作家作品,也会发现这套丛书富有吸引力。

英国文学是英国人民在漫长的历史发展进程中创造的英国文化与文明的精华,是世界文学宝库中一颗璀璨的明珠。文学是语言的艺术,英国文学是英语语言艺术的结晶。英语表意功能强,文体风格变化多,或高雅,或通俗,或含蓄,或明快,或婉约,或粗犷,其丰富的表现力和独特的魅力在英国作家作品里得到了最为淋漓尽致的发挥。要真正掌握英语,必须阅读和了解优秀的英国文学作品,英国文学因此成为高校英语专业课程设置不可或缺的组成部分。

文摘Topical performance: the plays in differenttheatrical contexts

These varying interpretations of the relationship between Petruchio and Kathe-rina are partly matters of academic or scholarly analysis, but they also abut widercultural notions about what is considered appropriate in relations between menand women outside the theatre. Since Shakespeare has such a privileged sta-tus in English-speaking cultures, particularly in the education system and inthe subsidised Royal Shakespeare Company in the UK, there are considerableexpectations that his works should conform to current ideas of social propriety.If Shakespeare were merely a writer of the sixteenth and seventeenth centuries,we might expect his attitude to, say, the role of women within marriage, to bedifferent from our own. But because, culturally, we have invested in the ideathat Shakespeare is timeless (chapter 7, 'History' has more on this), we havetended to want to see in Shakespeare the anticipation of our own attitudes:productions of The Taming of the Shrew become, in this critical context, a mir-ror of wider attitudes towards women's roles in society. Or, to take anotherexample, Othello, a play in which a marriage between a black man and a whitewoman ends in wife-murder, used to be seen as a warning against such 'unnat-ural' interracial liaisons; it has been reinvented as a play generally seen to bedisinterestedly about, rather than partisanly enacting, the terrible and corrosiveeffects of racism. We don't want Shakespeare to look like an unreconstructedsexist or racist, after all: that would really screw up our continued investmentin the literary canon.

 
 
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