Shakespeare Interactive98137Shakespeare Interactive. PO Box 159, Thorndike, ME 04986: G.K. Hall & Co./Macmillan Reference 1996‐. , ISBN: 0‐7838‐1554‐9 $99 separately (Romeo and Juliet), ISBN: 0‐7838‐1555‐7 $99 separately (Much Ado about Nothing), ISBN: 0‐7838‐1556‐5 $99 separately (Julius Caesar), ISBN: 0‐7838‐1557‐3 $99 separately (Hamlet), ISBN: 0‐7838‐1558‐1 $99 separately (set of all four previous), ISBN: 0‐7838‐1814‐9 $99 separately (As You Like It), ISBN: 0‐7838‐1814‐9 $99 separately (The Taming of the Shrew), ISBN: 0‐7838‐0063‐0 $99 separately (Twelfth Night), ISBN: 0‐7838‐1815‐7 $99 separately (A Midsummer Night’s Dream), ISBN: 0‐7838‐1811‐4 $99 separately (set of all four previous), ISBN: 0‐7838‐1813‐0 Price: $99 separately (Merchant of Venice), ISBN: 0‐7838‐0061‐4 $99 separately (Macbeth), ISBN: 0‐7838‐0060‐6 $99 separately (King Lear), ISBN: 0‐7838‐0062‐2 $99 separately (Othello), ISBN: 0‐7838‐0064‐9 $99 separately ($350 for each set of all four previous)

1998 ◽  
Vol 2 (12) ◽  
pp. 143-144
Author(s):  
Brad Eden
Keyword(s):  
King Lear ◽  
Julius Caesar ◽  
Merchant Of Venice ◽  
Romeo And Juliet ◽  
Twelfth Night ◽  
Midsummer Night's Dream ◽  
Much Ado About Nothing ◽  
As You Like It ◽  
A Midsummer Night's Dream

5. Shakespeare and comic form

2015 ◽  
Author(s):  
Stanley Wells
Keyword(s):  
Merchant Of Venice ◽  
Twelfth Night ◽  
Midsummer Night's Dream ◽  
Much Ado About Nothing ◽  
The Merchant Of Venice ◽  
As You Like It ◽  
Wide Range ◽  
A Midsummer Night's Dream ◽  
Love's Labour's Lost

Nearly half of Shakespeare’s plays, extending throughout his career, are written in comic form though they play a wide range of variations on it. ‘Shakespeare and comic form’ describes the five earliest as the lightest in tone, but in the five that follow, Shakespeare introduces an antagonist who must be expelled before the play can end happily. The later comedies were written for the Lord Chamberlain’s Men. The plays considered are The Two Gentlemen of Verona, The Taming of the Shrew, The Comedy of Errors, Love’s Labour’s Lost, A Midsummer Night’s Dream, The Merchant of Venice, The Merry Wives of Windsor, Much Ado About Nothing, As You Like It, and Twelfth Night.

Shakespeare in Production. Series edited by Jacky Bratton and Julie Hankey. Cambridge: Cambridge University Press, 2002; The Merchant of Venice. Edited by Charles Edelman. $65 cloth; Shakespeare in Production. Series edited by Jacky Bratton and Julie Hankey. Cambridge: Cambridge University Press, 2002; The Taming of the Shrew. Edited by Elizabeth Schafer. $65 cloth; Shakespeare in Production. Series edited by Jacky Bratton and Julie Hankey. Cambridge: Cambridge University Press, 2002; King Henry V. Edited by Emma Smith. $23 paper.

2004 ◽  
Vol 45 (1) ◽  
pp. 158-161
Author(s):  
Michael Flachmann
Keyword(s):  
Merchant Of Venice ◽  
Romeo And Juliet ◽  
Henry V ◽  
Twelfth Night ◽  
Midsummer Night's Dream ◽  
Cambridge University ◽  
Much Ado About Nothing ◽  
The Merchant Of Venice ◽  
The Tempest ◽  
As You Like It

In their “Editors' Preface” to the Cambridge University Press Shakespeare in Production series, J. S. Bratton and Julie Hankey proudly describe the “comprehensive dossier of materials,” including “eye-witness accounts, contemporary criticism, promptbook marginalia, stage business, cuts, additions and rewritings,” that make up the heart of this brilliant and exceptionally useful collection of Shakespeare editions. Conceived by Jeremy Treglown and first published by Junction Books, the series was later printed by Bristol Classical Press as Plays in Performance, though none of the original four titles remains in print. Already published in the descendant Cambridge Shakespeare in Production series are nine plays—A Midsummer Night's Dream, Much Ado about Nothing, Antony and Cleopatra, Hamlet, The Tempest, King Henry V, Romeo and Juliet, The Taming of the Shrew, and The Merchant of Venice—with Macbeth, Twelfth Night, Troilus and Cressida, Othello, and As You Like It forthcoming.

scholarly journals Identity in Shakespeare

2012 ◽  
pp. 33
Author(s):  
Jay L. Halio
Keyword(s):  
King Lear ◽  
Merchant Of Venice ◽  
Romeo And Juliet ◽  
Twelfth Night ◽  
Her Family ◽  
The Merchant Of Venice ◽  
As You Like It ◽  
Course Of Action ◽  
Self Knowledge ◽  
Antic Disposition

This paper surveys the problems of identity in a number of Shakespeare’s plays, such as The Taming of the Shrew, The Comedy of Errors, As You Like It, Twelfth Night, The Merchant of Venice, Romeo and Juliet, Hamlet, and Othello. In these plays as in many others, Shakespeare explores the complexity of identity, not only through the use of disguise, as in the major comedies, but also through the problems of self-knowledge. The latter issue is prominent and explicit in King Lear when, for example, Lear asks “Who is it that can tell me who I am?” The opening words of Hamlet, “Who’s there?” introduce the problem from the outset, and much of the play is given over to characters trying to discover who the others in the play really are. Is the Ghost an honest ghost, or “a goblin damned?” Is Hamlet really mad or just putting on an “antic disposition” as he struggles to discover his proper course of action as his father’s avenger? Is Kate really a shrew, or just made to act like one by her family and others?

scholarly journals Shakespeare Comes to Indonesia

2013 ◽  
Vol 10 (25) ◽  
pp. 99-119
Author(s):  
Michael Skupin
Keyword(s):  
King Lear ◽  
Merchant Of Venice ◽  
Midsummer Night's Dream ◽  
Indirect Influence ◽  
The Merchant Of Venice ◽  
As You Like It ◽  
Dutch Translation ◽  
A Midsummer Night's Dream ◽  
Lengthy Discussion

This paper discusses the circumstances of Shakespeare’s arrival in Indonesia via the translations of Trisno Sumardjo, published in the early 1950’s. Biographical material about the translator will be presented, and there will be a discussion of the characteristics the Indonesian language and of Indonesian verse which would determine the expectations of his readers, such as rhyme, meter and style, that would influence his renderings of the poetic passages in the Bard’s plays. These are illustrated in a sampling of passages from As You Like It, A Midsummer Night’s Dream, Macbeth and The Merchant of Venice. The Dutch translation of L. A. J. Burgersdijk was an indirect influence on the translations, and not always for the good. The paper concludes with a lengthy discussion of the extremely difficult problems that Sumardjo encountered in his translation of King Lear. This Lear was not published during the translator’s lifetime, Sumardjo’s prestige notwithstanding because he was not satisfied with the solutions he proposed.

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