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Great Shakespeareans offers a systematic account of those figures who have had the greatest influence on the interpretation, understanding and cultural reception of Shakespeare, both nationally and internationally. In this volume, leading scholars assess the contribution of G. Wilson Knight, William Empson, C.L. Barber and Jan Kott to the afterlife and reception of Shakespeare and his plays. Each substantial contribution assesses the double impact of Shakespeare on the figure covered and of the figure on the understanding, interpretation and appreciation of Shakespeare, provide a sketch of their subject's intellectual and professional biography and an account of the wider cultural context, including comparison with other figures or works within the same field.

Here Mary Thomas Crane considers the brain as a site where body and culture meet to form the subject and its expression in language. Taking Shakespeare as her case study, she boldly demonstrates the explanatory power of cognitive theory--a theory which argues that language is produced by a reciprocal interaction of body and environment, brain and culture, and which refocuses attention on the role of the author in the making of meaning. Crane reveals in Shakespeare's texts a web of structures and categories through which meaning is created. The approach yields fresh insights into a wide range of his plays, includingThe Comedy of Errors, As You Like It, Twelfth Night, Hamlet, Measure for Measure,andThe Tempest. Crane's cognitive reading traces the complex interactions of cultural and cognitive determinants of meaning as they play themselves out in Shakespeare's texts. She shows how each play centers on a word or words conveying multiple meanings (such as \"act,\" \"pinch,\" \"pregnant,\" \"villain and clown\"), and how each cluster has been shaped by early modern ideological formations. The book also chronicles the playwright's developing response to the material conditions of subject formation in early modern England. Crane reveals that Shakespeare in his comedies first explored the social spaces within which the subject is formed, such as the home, class hierarchy, and romantic courtship. His later plays reveal a greater preoccupation with how the self is formed within the body, as the embodied mind seeks to make sense of and negotiate its physical and social environment.

What is at stake in reading, studying and staging Shakespeare in an age of ‘extremism’, and in a context where responses to extremism are at best misguided and at worst counterproductive? Incorporating analysis of policy documents, contributions from anthropology and discussions of literary texts, this article explores what Shakespeare will mean under the UK government’s Prevent agenda, and the effects such an agenda might have on how we engage with extraordinary renderings of Shakespeare on stage now, not least those created by Sulayman Al Bassam.

Shakespeare intended his plays to be seen, not read. With this thought uppermost in mind, Charney offers here a provocative analysis of Hamlet, the most stylistically inventive of all Shakespeare's plays, strictly in terms of its style-by which he means the distinct modes of expression used by the playwright in accomplishing his dramatic ends. Careful consideration is given to the stagecraft of the play, to lighting and sound effects, gesture and scenery. The play's imagery is discussed with attention to its style as well as to its content. Each of the three main characters is examined in terms of his unique mode of expression. Among the interesting discoveries this approach allows is a new perspective on the character of Hamlet, who is found to have four distinct styles which he employs as the occasion demands. Originally published in 1969. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

The nature of Renaissance allegory has been the subject of much investigation, notably by Spenserian scholars. The subject is now enlarged through a study of the plays of the Elizabethan Court dramatists of the 1580's and early 1590's, particularly the comedies of John Lyly. Mr. Saccio rejects the older \"topical readings\" of Lyly; by extensive interpretation of particular plays he describes three distinct kinds of allegorical operation apparent in successive phases of Lyly's career and suggests that they form an important paradigm of the development of English drama itself. Originally published in 1969. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

There has been an increased amount of scholarly interest lately in T.S. Eliot's unfinished sequence, Coriolan (1932) — interest drawn from its Shakespearian allusiveness, and from analysis of this writing's particularly rebarbative, jarring poetic. Although, however, the two parts of the sequence published by Eliot are acknowledged as being his nearest approach to poetic commentary upon contemporary political ideas, little criticism exists establishing the hinterland of the political thought, with which Eliot was most familiar, as editor of the Criterion. Coriolan emerges at a time when the lure of fascism pulled hardest at Eliot's sensibility. This article reviews the full political context provided by Eliot's journal, as well as considering the connections between that political engagement and the readings of Shakespeare he was also promulgating through this forum, in order to provide a more complex sense than hitherto of the diverse pressures underlying the unsettled nature of the existing Coriolan poems.

Professor [G. Wilson Knight] also wrote plays for the British stage and television.

Professor [G. Wilson Knight]'s presentations are dramatic recitals, as well as illuminating lectures. He will be discussing ''Richard II,'' ''Richard III,'' ''Othello,'' ''Romeo and Juliet,'' ''Macbeth,'' ''King Lear'' and ''Timon of Athens.'' The public lecture and reception afterward are free. Sponsored by the Chase Manhattan Bank in celebration of the county's Tricentennial, the tournament began Oct. 1 with 200 teams from three after-school and weekend leagues ranging from 8 to 18 years old. ''It's a true county tournament,'' said Ray Griffin, coordinator from the county's Parks and Recreation Department, ''and the only one that brings together these leagues.'' They are the Westchester Youth Soccer League, East Hudson Youth Soccer League and American Youth Soccer Organization.

I greatly enjoyed Margaret Drabble's account of John Cowper Powys and his remarkable and sometimes exasperating writings (\"The English degenerate\", August 12), but one small slip should perhaps be corrected...