Shakespeare Survey is a yearbook of Shakespeare studies and productions. Since 1948, the Survey has published the best international scholarship in English and many of its essays have become classics of Shakespeare criticism. Each volume is devoted to a theme, or play, or group of plays; each also contains a section of reviews of that year's textual and critical studies and of the year's major British performances. The theme for Volume 67 is 'Shakespeare's Collaborative Work'. The complete set of Survey volumes is also available online at http://www.cambridge.org/online/shakespearesurvey. This fully searchable resource enables users to browse by author, essay and volume, search by play, theme and topic, and save and bookmark their results.
Shakespeare Survey is a yearbook of Shakespeare studies and productions which has published the best international scholarship in English since 1948. The theme for Volume 67 is 'Shakespeare's Collaborative Work'. The complete set of Survey volumes is also available online at http://www.cambridge.org/online/shakespearesurvey.
Papildus informācija
The theme for Shakespeare Survey 67 is 'Shakespeare's Collaborative Work'.
1. Why did Shakespeare collaborate? Gary Taylor;
2. What is not
collaborative about early modern drama in performance and print? Gabriel
Egan;
3. Framing Shakespeare's collaborative authorship Will Sharpe;
4.
Collaboration and proprietary authorship: Shakespeare, et al. Trevor Cook;
5.
Topical Shakespeare Barry Langston;
6. Shakespeare after all?: the authorship
of Titus Andronicus 4.1 reconsidered William Weber;
7. A Shakespeare/North
collaboration: Titus Andronicus and Titus and Vespasian Dennis McCarthy and
June Schlueter;
8. The two authors of Edward III Brian Vickers;
9.
Shakespeare, poetic collaboration, and The Passionate Pilgrim Francis Connor;
10. Contextualizing 'The Phoenix and Turtle': Shakespeare, Edward Blount, and
the poetical essays group of Love's Martyr James P. Bednarz;
11.
Shakespeare's singularity and Sir Thomas More James Purkis;
12. Double
Falsehood: the forgery hypothesis, the 'Charles Dickson' enigma and a 'stern'
rejoinder Brean Hammond;
13. Nostalgic spectacle and the politics of memory
in Henry VIII Isabel Karremann;
14. Royal entries and the form of pageantry
in All Is True Roderick McKeown;
15. Acting historical with Shakespeare, or,
William-Henry Ireland's Oaken Chest Ellen MacKay;
16. Re-cognizing
Shakespearean tragedy Arthur Kinney;
17. Shakespeare's literature of
exhaustion Stephan Laqué;
18. Big-shouldered Shakespeare: three Shrews at
Chicago Shakespeare Theater L. Monique Pittman;
19. Why Ganymede faints and
the Duke of York weeps: passion plays in Shakespeare Sujata Iyengar;
20. The
National Theatre of Greece's The Merchant of Venice (1945) and the silencing
of the Holocaust Tina Krontiris;
21. Cinnas of memory Julia Griffin;
22. The
measure of sexual memory Stephen Spiess;
23. Othello across borders: on an
interlocal and intermedial exercise Rui Carvalho Homem;
24. John Berryman's
emendation of King Lear 4.1.10 and Shakespeare's scientific knowledge B. J.
Sokol;
25. Spectacle, representation, and lineage in Macbeth 4.1 William C.
Carroll;
26. 'Pleasing strains': the dramaturgical role of music in The
Winter's Tale Simon Smith;
27. Confinement and freedom in The Tempest Leslie
Thomson;
28. Shakespeare performances in England 2013 Carol Chillington
Rutter;
29. Professional Shakespeare productions in the British Isles,
JanuaryDecember 2012 James Shaw; The year's contribution to Shakespeare
studies:
1. Critical studies Charlotte Scott;
2. Shakespeare in performance
Russell Jackson;
3. Editions and textual studies Sonia Massai.
Peter Holland is McMeel Family Professor in Shakespeare Studies and Department Chair, Department of Film, Television and Theater at the University of Notre Dame.
