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|Author||: Jeffrey Kahan|
Is King Lear an autonomous text, or a rewrite of the earlier and anonymous play King Leir? Should we refer to Shakespeare’s original quarto when discussing the play, the revised folio text, or the popular composite version, stitched together by Alexander Pope in 1725? What of its stage variations? When turning from page to stage, the critical view on King Lear is skewed by the fact that for almost half of the four hundred years the play has been performed, audiences preferred Naham Tate's optimistic adaptation, in which Lear and Cordelia live happily ever after. When discussing King Lear, the question of what comprises ‘the play’ is both complex and fragmentary. These issues of identity and authenticity across time and across mediums are outlined, debated, and considered critically by the contributors to this volume. Using a variety of approaches, from postcolonialism and New Historicism to psychoanalysis and gender studies, the leading international contributors to King Lear: New Critical Essays offer major new interpretations on the conception and writing, editing, and cultural productions of King Lear. This book is an up-to-date and comprehensive anthology of textual scholarship, performance research, and critical writing on one of Shakespeare's most important and perplexing tragedies. Contributors Include: R.A. Foakes, Richard Knowles, Tom Clayton, Cynthia Clegg, Edward L. Rocklin, Christy Desmet, Paul Cantor, Robert V. Young, Stanley Stewart and Jean R. Brink
|Author||: Brian Vickers|
|Editor||: Harvard University Press|
In the 1980s influential scholars argued that Shakespeare revised King Lear in light of theatrical performance, resulting in two texts by the bard’s own hand. The two-text theory hardened into orthodoxy. Here Sir Brian Vickers makes the case that Shakespeare did not cut his original text. At stake is the way his greatest play is read and performed.
|Author||: Rene Weis|
This reissed edition of Longman Annotated Texts King Lear includes comprehensive notes, annotations and an introduction, all designed to be of use to undergraduates and interested readers. King Lear is one of Shakespeare's most widely studied tragedies. However, since the late 1970s textual scholars, critics and editors have argued that there is no single 'King Lear' text. Anyone studying the play needs to be aware of two different texts, one based on the quarto of 1608, The History of King Lear, and a revised version published in the first folio of 1623, The Tragedy of King Lear. This edition offers a fully annotated, modern spelling version of the texts set side by side, identifying and elucidating the major discrepancies between the two. It presents some possible reasons for the differences between the two texts, which themselves shed light on a number of issues relating to literary transmission in the Renaissance and give an insight into the nature of performance and censorship.
|Author||: William Shakespeare|
Includes the unabridged text of Shakespeare's classic play plus a complete study guide that features scene-by-scene summaries, explanations and discussions of the plot, question-and-answer sections, author biography, historical background, and more.
|Author||: J.R. Thorp|
|Editor||: Canongate Books|
AN OBSERVER BEST DEBUT NOVELIST OF 2021 'Seductive . . . Gorgeous' The Times 'Gives voice to one of fiction's most conspicuously absent women' i Word has come. King Lear is dead. His three daughters too, broken in battle. But someone has survived: Lear’s queen. Though her grief and rage threaten to crack the earth open, she knows she must seek answers. Why was she exiled? What has happened to Kent, her oldest friend? And what will become of her now? To find peace she must reckon with her past and make a terrible choice – one upon which her destiny rests.
|Author||: Maynard Mack|
This edition first published in 1966. Previous edition published 1965 by the University of California Press. Perhaps more than any other play of Shakespeare's King Lear has been subjected to almost totally contradictory interpretations. In the first historical section of the book the author describes the varying concepts of the play and the distortions of text and even plot that have been widely used. Garrick's playing of Lear as a pathetic and down-trodden old man. Laughton's and Olivier's versions and Herbert Blaus's theory of the 'subtext' are described and analysed. The central section of the book examines the medieval, folk and romance sources of the play. The final chapter illustrates how the action of the play and its pervading violence and evil are not explained in terms of human motive and rely for their meaning more on their effects than their antecedents. An important theme is the play's examination of society and the ties of service and family love.
|Author||: Preti Taneja|
When a billionaire hotelier and political operator attempts to pit his three daughters against one another, a brutal struggle for primacy begins in this modern-day take on Shakespeare’s King Lear. Set in contemporary India, where rich men are gods while farmers starve and water is fast running out, We That Are Young is a story about power, status, and the love of a megalomaniac father. A searing exploration of human fallibility, Preti Taneja’s remarkable novel reveals the fragility of the human heart—and its inevitable breaking point.
|Author||: Yvonne Griggs|
|Editor||: Bloomsbury Publishing|
This close study of film adaptations of King Lear looks at several different versions (mainstream, art-house and cinematic `offshoots') and discusses: the literary text in its historical context, key themes and dominant readings of the text, how the text is adapted for screen and how adaptations have changed our reading of the original text. There are many references to the literary text and screenplays and the book also features quotations from directors and critics. There is plenty of discursive material here to support student work on both film and literature courses.
|Author||: Keith Linley|
|Editor||: Anthem Press|
This engaging book provides in-depth discussion of the various influences that an audience in 1606 would have brought to interpreting ‘King Lear’. How did people think about the world, about God, about sin, about kings, about civilized conduct? Learn about the social hierarchy, gender relationships, parenting and family dynamics, court corruption, class tensions, the literary profile of the time, the concept of tragedy – and all the subversions, transgressions, and oppositions that made the play an unsettling picture of a disintegrating world in free fall.