By Richard Dutton, Jean E. Howard
The four-volume Companion to Shakespeare's Works, compiled as a unmarried entity, bargains a uniquely entire photo of present Shakespeare feedback. This quantity seems at Shakespeare’s tragedies.
- Contains unique essays on each Shakespearean tragedy from Titus Andronicus to Coriolanus.
- Includes 13 extra essays on such issues as Shakespeare's Roman tragedies, Shakespeare's tragedies on movie, Shakespeare's tragedies of affection, Hamlet in functionality, and tragic emotion in Shakespeare.
- Brings jointly new essays from a various, overseas staff of students.
- Complements David Scott Kastan's A spouse to Shakespeare (1999), which enthusiastic about Shakespeare as an writer in his ancient context.
- Offers a provocative roadmap to Shakespeare stories.
Chapter 1 “A rarity so much beloved”: Shakespeare and the assumption of Tragedy (pages 5–22): David Scott Kastan
Chapter 2 The Tragedies of Shakespeare's Contemporaries (pages 23–46): Martin Coyle
Chapter three Minds in corporation: Shakespearean Tragic feelings (pages 47–72): Katherine Rowe
Chapter five The Divided Tragic Hero (pages 73–94): Catherine Belsey
Chapter five Disjointed instances and Half?Remembered Truths in Shakespearean Tragedy (pages 95–108): Philippa Berry
Chapter 6 examining Shakespeare's Tragedies of affection: Romeo and Juliet, Othello, and Antony and Cleopatra in Early sleek England (pages 108–133): Sasha Roberts
Chapter 7 Hamlet Productions Starring Beale, Hawke, and Darling From the point of view of functionality heritage (pages 134–157): Bernice W. Kliman
Chapter eight textual content and Tragedy (pages 158–177): Graham Holderness
Chapter nine Shakespearean Tragedy and spiritual id (pages 178–198): Richard C. McCoy
Chapter 10 Shakespeare's Roman Tragedies (pages 199–218): Gordon Braden
Chapter eleven Tragedy and Geography (pages 219–240): Jerry Brotton
Chapter 12 vintage movie models of Shakespeare's Tragedies: A reflect for the days (pages 241–261): Kenneth S. Rothwell
Chapter thirteen modern movie models of the Tragedies (page 262): Mark Thornton Burnett
Chapter 14 Titus Andronicus: A Time for Race and Revenge (pages 284–302): Ian Smith
Chapter 15 “There is not any international with out Verona walls”: town in Romeo and Juliet (pages 303–318): Naomi Conn Liebler
Chapter sixteen “He that thou knowest thine”: Friendship and repair in Hamlet (pages 319–338): Michael Neil
Chapter 17 Julius Caesar (pages 339–356): Rebecca W. Bushnell
Chapter 18 Othello and the matter of Blackness (pages 357–374): Kim F. Hall
Chapter 19 King Lear (pages 375–392): Kiernan Ryan
Chapter 20 Macbeth, the current, and the earlier (pages 393–410): Kathleen McLuskie
Chapter 21 The Politics of Empathy in Antony and Cleopatra: A View from less than (pages 411–429): Jyotsna G. Singh
Chapter 22 Timon of Athens: The Dialectic of Usury, Nihilism, and artwork (pages 430–451): Hugh Grady
Chapter 23 Coriolanus and the Politics of Theatrical excitement (pages 452–472): Cynthia Marshall
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Extra info for A Companion to Shakespeare's Works, Volume 1: The Tragedies
1–5) The sensuous image of alabaster skin elides the gap between death and desire, making Desdemona both present and absent but also eroticizing the murder. These complex effects A Woman Killed labors to make mundane, as if they are too shocking to be shown. Sex, therefore, is made comic through the servant Nicholas spying on Anne and Wendoll, while the death of Anne is made merely tearful. Constantly A Woman Killed seeks to reduce the tragic, including the language of tragedy, to the ordinary.
Eagleton, T. (2003). Sweet Violence: The Idea of the Tragic. Oxford: Blackwell. Eliot, T. S. (1932) . Shakespeare and the Stoicism of Seneca. In Selected Essays, 1917–32. London: Faber and Faber. Everett, B. (1989). Young Hamlet: Essays on Shakespeare’s Tragedies. Oxford: Clarendon Press. 22 David Scott Kastan Frye, N. (1967). Fools of Time: Studies in Shakespearean Tragedy. Toronto: University of Toronto Press. Goldman, M. (1972). Shakespeare and the Energies of Drama. Princeton, NJ: Princeton University Press.
Homo fuge! Whither should I file? 73–6) Faustus seeks to read himself as if a book, a book that, like the literal books at the start of the play, he only partly understands. It is a moment when the human subject seems rent between desire for knowledge and the outward control of authority, producing a new sort of inwardness in the tragic hero. What, however, is also evident in Faustus is the way in which Marlowe discovers not just an interior language for The Tragedies of Shakespeare’s Contemporaries 29 tragedy but also an interior for tragedy itself.