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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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.
