By Richard Dutton, Jean E. Howard

This four-volume Companion to Shakespeare's Works, compiled as a unmarried entity, bargains a uniquely entire image of present Shakespeare feedback.

* Brings jointly new essays from a mix of more youthful and extra validated students from around the globe - Australia, Canada, France, New Zealand, the uk, and the USA.
* Examines each one of Shakespeare’s performs and significant poems, utilizing all of the assets of up to date feedback, from functionality reviews to feminist, historicist, and textual research.
* Volumes are geared up on the subject of customary different types: particularly the histories, the tragedies, the romantic comedies, and the overdue performs, challenge performs and poems.
* each one quantity comprises person essays on all texts within the correct class, in addition to extra common essays serious matters and ways extra generally proper to the style.
* deals a provocative roadmap to Shakespeare reports on the dawning of the twenty-first century.

This spouse to Shakespeare’s tragedies includes unique essays on each tragedy from Titus Andronicus to Coriolanus in addition to 13 extra essays on such themes as Shakespeare’s Roman tragedies, Shakespeare’s tragedies on movie, Shakespeare’s tragedies of affection, Hamlet in functionality, and tragic emotion in Shakespeare.

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Additional resources for A Companion to Shakespeare's Works, Volume 1: The Tragedies (Blackwell Companions to Literature and Culture)

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31 But the two late classical plays refuse even that. Pushing the logic of tragedy as far as it can go, they insist that we witness the disintegration of their heroes without the ennobling comforts of Shakespeare’s poetic imagination seemingly in play; they refuse even the consolations of art. Notes 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 For the Hegelian A. C. Bradley (1991), it was only these four plays that fully realized the characteristics of “pure tragedy” (p. 21), the representation of a world “travailing for perfection, but bringing to birth, together with glorious good, and evil which it is able to overcome only by self-torture and self-waste” (p.

Sir Philip Sidney and the English Renaissance. London: Macmillan. Cavell, S. (1976). The Avoidance of Love. In Must We Mean What We Say. Cambridge: Cambridge University Press, 267–353. Croce, B. (1920). Ariosto, Shakespeare, and Corneille, trans. D. Ainslie. New York: Holt. Cunningham, J. V. (1951). Woe or Wonder: The Emotional Effect of Shakespearean Tragedy. Denver, CO: University of Denver Press. Danson, L. (2000). Shakespeare’s Dramatic Genres. Oxford: Oxford University Press. Dollimore, J.

Jaspers, K. (1952). Tragedy is Not Enough, trans. K. W. Deutsch. Boston, MA: Beacon Press. Johnson, S. (1989). Samuel Johnson on Shakespeare, ed. H. R. Woudhuysen. Harmondsworth: Penguin Books. Kastan, D. S. (1982). Shakespeare and the Shapes of Time. London: Macmillan. —— (1999). Shakespeare After Theory. New York: Routledge. Kelly, H. A. (1993). Ideas and Forms of Tragedy from Aristotle to the Middle Ages. Cambridge: Cambridge University Press. Kimbrough, R. (1983). Macbeth: The Prisoner of Gender.

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