出版社:上海外语教育出版社
出版日期:2003-7
ISBN:9787810808644
作者:(美)格蕾西亚/(英)威尔斯编
页数:328页
作者简介
《莎士比亚》系《剑桥文学指南》丛书中的一种。共收入国外学者的1 9篇论文,体现了国外学者近年来莎士比亚研究的最新成果。《莎士比亚》由美国宾夕法尼亚大学教授Margreta de Grazia和英国著名莎学家、国际莎士比亚学会主席Stanley Wells主编由多伦多大学、纽约大学、剑桥大学、宾夕法尼亚大学、伦敦罗汉普顿学院、伯明翰大学莎士比亚学院等学校1 9名教授撰稿。该论文集是剑桥大学出版社继1 934年版《莎士比亚研究指南》、1 971年版《新莎士比亚研究指南》、1 986年版《剑桥文学指南。莎士比亚研究》后该出版社的第四本莎士比亚研究指南,汇集了世界范围内莎士比亚研究许多新的成果。
《莎士比亚》作者来自美国、英国、加拿大、印度、德国、澳大利亚等国。地域的广泛意味着视角和内容的丰富。《莎士比亚》从更广义的文化角度,在文学、表演以及历史等范畴对莎剧进行了更全面、更权威也是更可读的讨论和研究。《莎士比亚》还附有莎士比亚生平及作品年表、插图、详尽的参考书目,对于了解当代西方莎学的进展有着不可替代的价值。
书籍目录
List of illustrationsList of contributorsPrefaceWilliam shakespeare:a kpartial chronologyA conjectural chronology of shakespeare's works1 Shakespeare's life ERNST HONIGMANN2 The reproduction of shakespeare's texts BARBARA A.MOWAT3 What did shakespeare read? LEONARD BARKAN4 Shakespeare and the craft of language MARGRETA DE GRAZIA5 Shakespeare's poems JOHN KERRIGAN6 The genres of shakespeare's plays SUSAN SNYDER7 Playhouses,players ,and court JOHN H.ASTINGTON8 The london scene:city and court ANNE BARTON9 Gender and sexuality in shakespeare VALERIE TRAUB10 Outsiders in shakespeare's england ANIA LOOMBA11 Shakespeare and english history DAVID SCOTT KASTAN12 Shaespeare in the theatre,I660-I900 KIUS OITTER13 Shakespeare in the twentieth-century theatre LOIS POTTER14 Shakepeare and the cinema RUSSELL JACKSON15 Shakespeare on the page and the stage MICHAEL DOBSON16 Shakespeare Wordwide DENNIS KENNEDY17 Shakespeare criticism,I600-I900 HUGH GRADY18 shakespeare criticism in the twentieth century R.S.WHITE19 Shakespeare reference books DIETER MEHLIndex
编辑推荐
《莎士比亚》:剑桥文学指南(33)
内容概要
编者:(美国)格蕾西亚(Margreta De Grazia) (英国)威尔斯(Stanley Wells)
章节摘录
The italicized phrase could restrict either the clause before or after it; a moderneditor will assign it to one or the other, but Shakespeare had it both ways. The lexical and syntactic flexibility available to Shakespeare did not outlasthim by long. In the seventeenth century, several dictionaries were printed withan increasing number of entries beyond the specialized vocabularies of the 'hardword' lists, and by the eighteenth century everyday words were also included. Atthe same time, grammars began to appear which at first merely apply the rulesof Latin grammar to English, but then codify rules specifically for English. InI665, the Royal Society impanelled a committee of poets and philosophers tooversee the improvement of the language. Its aims were indicative of the new lin-guistic tide, condemning all 'amplifications, digressions, and swellings of style',and prescribing as ideals 'brevity and purity',s In addition it called for aneconomy of expression altogether antithetical to the repetitive practices we havebeen tracing: 'so many things almost in an equal number of words'. Shakespearedid not fare well under the new regime. Indeed the literature of the Elizabethanage in general was deemed 'barbaric' and in need of rehabilitation and refine-ment. It is in this age that Shakespeare's plays were rewritten for the stageaccording to new linguistic as well as literary criteria; and soon after began themassive editorial labour of 'correcting' what had-come to be judgedShakespeare's errors, excesses, and irregularities. In this new cultural climate, there was one feature of Shakespeare's style thatrepeatedly came under critical fire: wordplay. The pun in particular was repeat-edly singled out as a 'fault' or 'vice' of Shakespeare and hisage. In retrospect, wecan understand why this prominent Shakespearian feature proved such an irri-tAnt to succeeding ages, The pun is unruly, working in violation of both diction-ary and grammar. Take, for example, Hamlet's famous pun on sun/son.
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