OVERHEARING IN SHAKESPEARE

As editors of a book of this kind, we realize that we are gatherers of a community as much as overseers of its constituent authors. This book represents an energetic project that would not have been possible without funding from the Arts Humanities and Research Council (AHRC), and the support of the University of Birmingham, the University of Warwick and The Shakespeare Birthplace Trust. The project's main expression was through the splendid digital platform created and designed by A. J. and Melissa Leon and their crew at Misfit,inc.-www.yearofshake speare.com. In seeking to illustrate as many of the productions as possible for the book, we should like to thank

Shakespeare Bulletin , 2009

2025

In his book Shakespeare and Music, Dr. Edward M. Naylor draws upon 33 plays and four volumes of poetry which make reference to or include the noble art of music. The only plays that exclude music or any indirect reference to it are Henry VIth part 3 and King John. Indeed, in the Merchant of Venice Shakespeare himself writes; "The man that hath no music in himself, Nor is not moved with concord of sweet sounds, Is fit for treasons, stratagems, and spoils: The motions of his spirit are as dull as night, And his affections dark as Erebus: Let no such man be trusted.

Sanat Dergisi

It is a well-known fact that William Shakespeare, just like many of his contemporaries, was influenced by earlier literary and non-literary sources while he was writing his plays. However, Shakespeare did not remain true to the sources by which he was inspired neither in terms of content nor form. Much Ado About Nothing, which he wrote by making use of the features of New Comedy genre that had emerged in the Ancient Greece, is undoubtedly an indicative of his mastery of plot and comedy. The playwright, while utilizing the genre of New Comedy, brought novelties to the play showing his genius and he knitted, so to speak, the plot structure in a conscientious manner. This study aims to analyse the mastery of Shakespeare in creating the plot structure and comedy, to show the features of the New Comedy he made use of and to investigate the elements which are purely Shakespearean in Much Ado About Nothing.

1998

O WORD OF FEAR": IMAGINARY CUCKOLDRY IN SHAKESPEARE'S PLAYS Doctor of Philosophy, 1998 Philip David Collington Graduate Department of English, University of Toronto The spectre of cuckoldry is invoked in many of Shakespeare's plays, yet few actually contain unfaithful wives. This suggests that the author attributed sexual mistrust to masculine insecurity rather than to femlliine infidelity. The "cuckoldry anxiety" inculcated by Renaissance cultural practices produced men who were quarrelsome, self-obsessed, and reliant on approbation f?om lovers and peers--traits similar to syrnptoms of what self psychologist Heinz Kohut calls the "narcissistic personality disorder": a hypersensitivity to slights, a solipsistic view of the environment, and a heavy reliance on others to function as selfobjects ("objects" [Le., people] who are experienced as part of the subject's self). Lf an afflicted individual perceives his lover to be unfaithhI and hi...

A truly groundbreaking collaboration of original theatre history with exciting literary criticism, Shakespeare in Parts is the first book fully to explore the original form in which Shakespeare's drama overwhelmingly circulated. This was not the full play-text; it was not the public performance. It was the actor's part, consisting of the bare cues and speeches of each individual role. With group rehearsals rare or non-existent, the cued part alone had to furnish the actor with his character. But each such part-text was riddled with gaps and uncertainties. The actor knew what he was going to say, but not necessarily when, or why, or to whom; he may have known next to nothing of any other part. Starting with a comprehensive history of the part in early modern theatre, Simon Palfrey and Tiffany Stern's work provides a unique keyhole onto hitherto forgotten practices and techniques. It not only discovers a newly active, choice-ridden actor, but a new Shakespeare.

Shakespeare Lives: Passions in the Craft of Will, 2016

This book includes the proceedings and transcription of talks delivered during the British Council conference Shakespeare Lives, University of Yasar, Izmir, Turkey, October 2016