威廉·莎士比亞

前言

為了幫助廣大讀者特別是英語專業(yè)學生學習英國文學，上海外語教育出版社從國外引進了這套“劍橋文學名家研習系列”叢書。正如封底文字所說，本系列叢書旨在向?qū)W生介紹英美經(jīng)典作家，而普通讀者如果想進一步了解自己所喜愛的作家作品，也會發(fā)現(xiàn)這套叢書富有吸引力。英國文學是英國人民在漫長的歷史發(fā)展進程中創(chuàng)造的英國文化與文明的精華，是世界文學寶庫中一顆璀璨的明珠。文學是語言的藝術(shù)，英國文學是英語語言藝術(shù)的結(jié)晶。英語表意功能強，文體風格變化多，或高雅，或通俗，或含蓄，或明快，或婉約，或粗獷，其豐富的表現(xiàn)力和獨特的魅力在英國作家作品里得到了最為淋漓盡致的發(fā)揮。要真正掌握英語，必須閱讀和了解優(yōu)秀的英國文學作品，英國文學因此成為高校英語專業(yè)課程設(shè)置不可或缺的組成部分。

內(nèi)容概要

本書從莎劇的人物、演出、文本、語言、結(jié)構(gòu)、素材以及與時代的關(guān)系七大視角出發(fā)，直接抓住了莎劇藝術(shù)的主要特點，積極將讀者導入莎劇，論述有理有據(jù)，蹊徑獨辟，證明了莎劇文本的研究大有創(chuàng)新的空間。    “……一部深入淺出、令人耳目一新的莎劇指南?！?/pre>


作者簡介
作者：(英國)史密斯 (Smith.E.)


書籍目錄
List of figures and tablesPrefaceChapter 1 Character  Juliet's balcony, Verona  Shakespeare's realism？  Shakespeare's 'unreal' characters  Reading Shakespeare's characters on the page  Embodying Shakespeare's characters on stage  Doubling on the early modern stage  Writing for particular actors  Falstaff：character as individual or type？  Naming and individuality  Characters as individuals or as inter-relationships  Character：interior or exterior？  Character：where next？Chapter 2 Performance  Measure for Measure. staging silence  ‘Going back to the text’：the challenge of performance  Performance interpretations：The Taming of the Shrew  Topical performance：the plays in different theatrical contexts  Citing performances  Using film  Using film comparatively：Macbeth  Hamlet:‘To be or not to be’  Adaptations：Shakespearean enough？  Performance：where next？Chapter 3 Texts  Shakespeare's hand  So what did Shakespeare write？  Stage to page  Quartos and Folio  Editing as interpretation  The job of the editor：the example of Richard Ⅱ  Stage directions  Speech prefixes  The job of the editor：the example of KingLear  Texts：where next？Chapter 4 Language  ‘In a double sense’(Macbeth 5.7.50)  Did anyone really talk like that？  Playing with language  Language of the play/language of the person  Prose and verse  Linguistic shifts：i Henry Ⅳ  Shakespeare's verse  Linguistic variation：A Midsummer Night's Dream  Language：where next？Chapter 5 Structure  Finding the heart of the play  Shakespeare's genres：dynamic, not static  Tragedy and comedy  Tragedy-expanding the genre  Comedy-expanding the genre  History：is this a fixed genre？  Structuring scenes：Much Ado About Nothing  Juxtaposing scenes, activating ironies：Henry V  Showing v. telling  Structure：where next？Chapter 6 Sources  Antony and Cleopatra and Plutarch  Originality：was Shakespeare a plagiarist？  Shakespeare at work：the intentional fallacy？  The source bites back：Romeo and Juliet and The Winter's Tale  The strong poet？ King Lear  Sources：where next？Chapter 7 History  Politic picklocks：interpreting topically  History plays：political Shakespeare？  History plays：Shakespeare as propagandist？  Hamlet as history play？  Jacobean patronage：King Lear and Macbeth  Historical specificity：gender roles  Race and Othello  History：where next？BibliographyIndex


章節(jié)摘錄
Topical performance: the plays in differenttheatrical contextsThese varying interpretations of the relationship between Petruchio and Kathe-rina are partly matters of academic or scholarly analysis, but they also abut widercultural notions about what is considered appropriate in relations between menand women outside the theatre. Since Shakespeare has such a privileged sta-tus in English-speaking cultures, particularly in the education system and inthe subsidised Royal Shakespeare Company in the UK, there are considerableexpectations that his works should conform to current ideas of social propriety.If Shakespeare were merely a writer of the sixteenth and seventeenth centuries,we might expect his attitude to, say, the role of women within marriage, to bedifferent from our own. But because, culturally, we have invested in the ideathat Shakespeare is timeless (chapter 7, 'History' has more on this), we havetended to want to see in Shakespeare the anticipation of our own attitudes:productions of The Taming of the Shrew become, in this critical context, a mir-ror of wider attitudes towards women's roles in society. Or, to take anotherexample, Othello, a play in which a marriage between a black man and a whitewoman ends in wife-murder, used to be seen as a warning against such 'unnat-ural' interracial liaisons; it has been reinvented as a play generally seen to bedisinterestedly about, rather than partisanly enacting, the terrible and corrosiveeffects of racism. We don't want Shakespeare to look like an unreconstructedsexist or racist, after all: that would really screw up our continued investmentin the literary canon.




編輯推薦
《威廉·莎士比亞》：劍橋文學名家研習系列。本系列旨在為學生引薦英美文學名家，內(nèi)容親和，語言生動，對有意提高西方文學素養(yǎng)的讀者很有吸引力。·學生、教師、專題主講者均適用·簡明扼要、信息豐富·配有進一步研究的書目





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