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Index
Cover  Title Dedication Acknowledgements Contents  Preface 1 Releasing Shakespeare
Shakespeare the entertainer Shakespeare the businessman Shakespeare through time
2 The framing of Shakespearean comedy: The Comedy of Errors (1594)
The plot of the play The structure of the play
3 Critical perspectives 1: Neoclassical and Romantic approaches
The seventeenth century The eighteenth century Romanticism
4 A Midsummer Night’s Dream (1595–6) and Romeo and Juliet (1595–6)
A Midsummer Night’s Dream Romeo and Juliet From dream to nightmare
5 Shakespeare’s poetic and theatrical language
The iambic pentameter and the sonnet form A muse of fire Body and stage language Forms of communication Music and song The perils of over-analysis
6 Love’s Labour’s Lost (1595) and The Two Gentlemen of Verona (1591–2)
Understanding the plays’ structure Love’s Labour’s Lost The Two Gentlemen of Verona
7 Living up to its title: As You Like It (1599–1600)
Troubled times Sex and sexual titillation In the Forest of Arden The structure of the play
8 Twelfth Night; or, What You Will (1601)
Carpe diem ‘What if?’ Creating and animating a tableau ‘This is I’ ‘That that is, is’
9 Critical perspectives 2: Theatrical Influences on Shakespeare in performance and interpretation
The empty space Acting style Film and television The multi-conscious apprehension of the audience Recreating the Shakespearean stage
10 Much Ado About Nothing (1598–9) and The Taming of the Shrew (1589–92?)
Much Ado About Nothing The Taming of the Shrew
11 The Merchant of Venice (1596–8)
Confronting or pandering to anti-Semitic prejudices? Flesh and blood The Christian context The mercantile currency Deception and structure
12 Critical perspectives 3: Reading history, writing history and the English history plays
The Elizabethan fashion for history plays History or tragedy? Critical questioning Sharp diffractions of light in Shakespearean studies History and politics Self-fashioning
13 The English history plays 1: The Henry VI plays (1591–2); Richard III (1592–4); King John (1595–7)
King Henry VI parts 1-3 Counterpointing and juxtapositioning Richard III King John
14 The English history plays 2: Richard II (1595–6)
The anointed king Queen Elizabeth and Shakespeare’s Richard II
15 The English history plays 3, plus a comedy: 1 Henry IV (1596–7); 2 Henry IV (1597–8); Henry V (1599); and The Merry Wives of Windsor (1597–1601)
The Henry IV plays Henry V The Merry Wives of Windsor
16 Critical perspectives 4: Tragedy – some modern critical challenges; Titus Andronicus (1591–2)
Aristotle The influence of A. C. Bradley Text and performance Meaning by Shakespeare The individual and society A cruel play for cruel ages: Titus Andronicus
17 Hamlet, Prince of Denmark (1600–1601)
The structure of the play Memory and remembrance Carnal sin To be, or not to be Renaissance humanism, political pragmatism and the theatre
18 Othello (1604)
Othello’s credulity Stereotypes Othello the outsider Craftsmanship Iago’s motivation Truth and falsehood Who is the protagonist?
19 King Lear (1605–6)
Structure and emblem The test Telling the truth Goneril and Regan Parallel plots The heath Interactive narrative Questions of identity The recognition scenes
20 Macbeth (1606)
What is a traitor? Macbeth and interpretation Hell’s gate Temptation and conscience ‘Unsex me here’ Consequences Signifying nothing
21 Critical perspectives 5: Searching for and interpreting the text
‘Good’ and ‘bad’ quartos and the First Folio Different kinds of Hamlet Original performance Modern adaptations Editorial decisions Aligning plays with events Nostalgia Interpretation and performance
22 Greeks and Romans 1: Timon of Athens (1605) and Troilus and Cressida (1601–2)
Timon of Athens Troilus and Cressida
23 Greeks and Romans 2: Julius Caesar (1599); Antony and Cleopatra (1606–7); Coriolanus (1608)
The structure of the plays Merging stage and audience Elizabethan contemporary issues Manipulation of perception The domestic and the public The personal and the political Challenging the audience
24 Critical perspectives 6: Some ‘isms’; a glossary; and selected biographies
Some definitions of ‘isms’ Glossary Selected recent biographies
25 All’s Well That Ends Well (1605) and Measure for Measure (1604)
All’s Well That Ends Well Measure for Measure
26 Cymbeline (1609–10) and a note on the poems
The genre debate Provenance Structural convention and innovation The dirge for Fidele Shakespeare’s poems
27 The Tempest (1611) and the collaborative plays: Henry VIII (1613); The Two Noble Kinsmen (1613–4); Pericles (1608); and The Shakespeare Apocrypha
Henry VIII The Two Noble Kinsmen Cardenio/Double Falsehood (?) The Shakespeare Apocrypha Pericles, Prince of Tyre The Tempest
28 The Winter’s Tale (1610–11)
An ‘improbable fiction’ The impact of history on the play Time Spring The art of grafting Recognition Autolycus The theatrical wonder
Conclusion Appendices
1 Dates of Shakespeare’s works 2 Some key dates, 1485–1633 3 The English monarchs, 1154–1649 4 Bibliography and further reading
Copyright
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