描述
开 本: 16开纸 张: 胶版纸包 装: 平装是否套装: 否国际标准书号ISBN: 9787544607483丛书名: 剑桥文学名家研习系列.英国卷
编辑推荐
埃玛·史密斯的这部《威廉·莎士比亚》用独特的视角，直接抓住戏剧艺术的主要特点——剧中人物、莎剧的演出、莎剧的文本、剧中语言、戏剧结构、莎剧故事的来源、剧作与时代的关系——直接插入，通过分析莎士比亚的多部剧作，在回顾总结历代学者评论家研究成果的基础上，阐述了她个人对莎剧的看法。因此，埃玛·史密斯的《威廉·莎士比亚》是一部个性化很强的导读。在每一章的结尾处，作者还加上了一份参考书目——不是单纯地列上书名，而是加上了对每本书的详细点评，这对读者进一步探讨这个问题会有很大的帮助。
内容简介
本书从莎剧的人物、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。”
“……一部深入浅出、令人耳目一新的莎剧指南。”
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
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
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