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| | William Shakespeare - Wikipedia, the free encyclopedia |
 | | Shakespeare is considered by many to be the greatest writer in the English language, as well as one of the greatest in Western literature, and one of the world's pre-eminent dramatists. | | | Shakespeare's plays tend to be placed into three main stylistic groups: his early comedies and histories (such as A Midsummer Night's Dream and Henry IV, Part 1), his middle period (which includes his most famous tragedies, Othello, Macbeth, Hamlet, and King Lear), and his later romances (such as The Winter's Tale and The Tempest). | | | As the son of a prominent town official, Shakespeare was entitled to attend King Edward VI Grammar School in central Stratford, which may have provided an intensive education in Latin grammar and literature. |
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http://en.wikipedia.org/wiki/Shakespeare
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| | William Shakespeare Biography |
| | Richard may be a "dreadful minister of hell," as Lady Anne calls him, but members of Shakespeare's audience (familiar with the story through such earlier renderings of it as the portrait painted by Thomas More) would have seen him simultaneously as a "scourge of God," unleashed to punish England for her sins of the past. | | | Romance is also a key ingredient in the concluding arias of Shakespeare's next comedy, The Merchant of Venice, where Bassanio and Portia, Lorenzo and Jessica, and Gratiano and Nerissa celebrate the happy consummation of three love quests and contemplate the music of the spheres from a magical estate known symbolically as Belmont. | | | Shakespeare's apprentice comedies are quite "inventive" in many respects, particularly in the degree to which they "overgo" the conventions and devices the young playwright drew upon. |
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http://people.brandeis.edu/~teuber/shakespearebio.html
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| | Shakespeare's Late Romances at AllExperts |
| | The Late Romances are a grouping of William Shakespeare's later plays, including Pericles, Prince of Tyre, Cymbeline, The Winter's Tale, and The Tempest. | | | After mastering the genres of history, tragedy, comedy, and tinkering with these genres in the problem plays, Shakespeare became decidedly more experimental. |
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http://experts.about.com/e/s/sh/Shakespeare's_Late_Romances.htm
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| | The Tempest Summary & Essays - William Shakespeare |
| | The romance genre is distinguished by the inclusion (and synthesis) of these tragic, comic, and problematical ingredients and further marked by a happy ending (usually concluding with a masque or dance) in which all, or most, of the characters are brought into harmony. | | | And while Shakespeare may have had a hand in The Two Noble Kinsman (written a decade or so after The Tempest and assigned to dual authorship), The Tempest is customarily identified as the Bard's last stage piece. | | | No reading of The Tempest can do it justice: Shakespeare's tale of Prospero's Island is inherently theatrical, unfolding in a series of spectacles that involve exotic, supra-human, and sometimes invisible characters that the audience can see but other characters cannot. |
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http://www.allshakespeare.com/tempest
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| | William Shakespeare Shakespeare as a Writer of Comedy |
| | William Shakespeare Shakespeare as a Writer of Comedy | | | Even if we except the late romances as a separate but closely allied genre, we can count thirteen plays, one-third of Shakespeare's canon, as full-fledged experiments with dramatic comedy. | | | Shakespeare and His Contemporaries: Other Poets and Playwrights |
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http://www.enotes.com/shakespeare-masters/47582
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| | Powell's Books - Reading Popular Romance in Early Modern England by Lori Humphrey Newcomb |
| | Using as her case study Robert Greenes Pandosto (1585), an Elizabethan prose romance that inspired Shakespeares late play, The Winters Tale, she shows that the two forms of literature influenced each other profoundly. | | | Lori Humphrey Newcomb examines the proliferation of romances in early modern England, as well as their vilification by elite writers. | | | Newcomb (English, U. of Illinois, Urbana-Champaign) examines some of the reasons behind the popularity of early modern romances and the attempts of elite readers to distance themselves from the genre. |
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http://www.powells.com/biblio?PID=719&cgi=product&isbn=0231123787
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| | Books by, for, about Shakespeare |
| | Shakespeare's Mouldy Tales Recurrent Plot Motifs in Shakespearean Drama; Scragg, Leah (Lecturer in English, University of Manchester) | | | Shakespeare: the Four Romances Adams, Robert M. The Fist Folio of Shakespeare; SHAKESPEARE, W | | | Shakespeare and the English Renaissance Sonnet Verses of Feigning Love; Innes, Paul (Lecturer in English Literature, University of Edinburgh) |
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http://book.look-4-it.com/Shakespeare
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| | College Literature: Shakespeare After Mass Media/Spectacular Shakespeare: Critical Theory and Popular Cinema/All About ... |
| | The collective authors of these four books ask us to consider how the swan of Avon flies in our hopefully late capitalist times where Shakespeare means celebrity, mass media and big bucks, and ripping him off or offering him homage supposedly amounts to the same thing. | | | Accordingly, Sanders calls her own conclusion a beginning rather than a summation: "New re-visions of Shakespeare by women writers are no doubt emerging" (235). | | | Indeed, a strange Shakespeare comes into view under the lens of these four works. |
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http://www.findarticles.com/p/articles/mi_qa3709/is_200404/ai_n9344958
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| | [No title] |
| | I'm the author of As She Likes It: Shakespeare's Unruly Women (Routledge, 1994), about performances of the major female characters in the comedies, and an edition of The Merchant of Venice (Sydney, 1995) which is the first to discuss Australian stage history. | | | I have had a life long interest in Shakespeare and the Renaissance drama, especially in questions of disputed or unattributed authorship and in the archetecture of Renaissance playhouses. | | | Barnes professes to be a Jonson man and have little interest in Shakespeare, but I've found that, in scope and focus, his work far more closely resembles that of Marston, Middleton, Webster, and Shakespeare, the Histories in particular. |
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http://www.chass.utoronto.ca/emls/iemls/shaksper/biogs/g.txt
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| | [No title] |
| | This exciting and approachable text provides colorful, yet simple descriptions of Shakespeare's life, Tudor England, Renaissance Europe, and global colonialism during the 16th and early 17th centuries. | | | Helps students grasp the main point of each work and distinguish it from the others. | | | Comprehensive overview—Explores four interlocking segments of this era, including Shakespeare's life and works, Tudor England, Renaissance Europe, and global colonialism. |
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http://vig.prenhall.com:8081/catalog/academic/EZPrint_Product/0,2989,0130971014,00.html
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| | Berkeley English: Courses: Upper Division |
| | We'll also read many of his sonnets, which are often linked thematically to the plays and offer tantalizing glimpses of Shakespeare imagining himself as friend, lover, poet, and actor. | | | If we work from stray particulars, you are less likely than you might otherwise be to come away with "knowledge" of matters about which we have--and have only evidence enough for--pure but immensely detailed guesses. | | | I find that presenting a topic like "Establishing Shakespeare's Texts" causes people to try to memorize a lot of distinguished guesswork and understand nothing. |
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http://english.berkeley.edu/courses/upperSP05.html
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| | The Tempest at AllExperts |
| | The character of Prospero is believed by some to be based on Shakespeare's contemporary, Dr John Dee. | | | The sorcerer Prospero, former Duke of Milan, and his daughter, Miranda, have been stranded for twelve years on an island, after Prospero's jealous brother deposed him and set him adrift with the three-year-old girl. | | | Supporters of this interpretation also commonly point to the epilogue spoken by Prospero directly to the audience after the final curtain, in which he insists that his power to work his magic is finally gone and asks the audience to set him free with their approving applause ("Now my charms are all o'erthrown. |
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http://experts.about.com/e/t/th/The_Tempest.htm
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| | Shakespeares Late Plays |
| | Shakespeare’s romances, “Pericles,” “Cymbeline,& Winter& Tale” and “The Tempest,&; provide a striking contrast to his earlier comedies, histories and tragedies. | | | Gordon Lell, Ph.D., has shared his passion for Shakespeare with students at Concordia for the past 35 years. | | | We will discuss some of the common features of these late plays, view clips from films and videos, and catch a full-length production of “The Tempest&; videotaped before a live audience at the Stratford Shakespeare Festival in Canada. |
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http://www.cord.edu/dept/fmcomm/ShakespearesLatePlays.htm
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| | [No title] |
| | I know that dosnt sound like a very fetching reccommendation, but the last 4 shakespeare plays, the romances-Pericles,Cymbeline(my favorite), a winters Tale, and the Tempest, might appeal to Robyn fans. | | | Since his daughter is restored to him, complete with an engagement to the son of the guy the Duke thought had cuckolded him, theres joy all around. | | | Im not sure why, but --theres a flavour to them, which at times runs close to our hero's creations. |
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http://www.smoe.org/lists/fegmaniax/1996/v04.n098
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