莎士比亞

內(nèi)容概要

本書系《劍橋文學(xué)指南》叢書中的一種，共收入國外學(xué)者的19篇論文，體現(xiàn)了國外學(xué)者近年來莎士比亞研究的最新成果。本書由美國賓夕法尼亞大學(xué)教授Margreta de Grazia和英國著名莎學(xué)家、國際莎士比亞學(xué)會主席Stanley Wells主編，由多倫多大學(xué)、紐約大學(xué)、劍橋大學(xué)、賓夕法尼亞大學(xué)、倫敦羅漢普敦學(xué)院、伯明翰大學(xué)莎士比亞學(xué)院等學(xué)校19名教授撰稿。該論文集是劍橋大學(xué)出版社1934年《莎士比亞研究指南》、1971年版《新莎士比亞研究指南》、1986年版《劍橋文學(xué)指南·莎士比亞研究》后該出版社的第四本莎士比亞研究指南，匯集了世界范圍內(nèi)莎士比亞研究許多新的成果。    本書從更廣義的文化角度，在文學(xué)、表演以及歷史等范疇對莎劇進(jìn)行了更全面、更權(quán)威也是更可讀的討論和研究。本書還附有莎士比亞生平及作品年表、插圖、詳盡的參考書目，對于了解當(dāng)代西方莎學(xué)的進(jìn)展有著不可替代的價值。

作者簡介

編者：（美國）格蕾西亞（Margreta De Grazia） （英國）威爾斯（Stanley Wells）

書籍目錄

List of illustrationsList of contributorsPrefaceWilliam shakespeare:a kpartial chronologyA conjectural chronology of shakespeare's works1 Shakespeare's life  ERNST HONIGMANN2 The reproduction of shakespeare's texts  BARBARA A.MOWAT3 What did shakespeare read?  LEONARD BARKAN4 Shakespeare and the craft of language  MARGRETA DE GRAZIA5 Shakespeare's poems  JOHN KERRIGAN6 The genres of shakespeare's plays  SUSAN SNYDER7 Playhouses,players ,and court  JOHN H.ASTINGTON8 The london scene:city and court  ANNE BARTON9 Gender and sexuality in shakespeare  VALERIE TRAUB10 Outsiders in shakespeare's england  ANIA LOOMBA11 Shakespeare and english history  DAVID SCOTT KASTAN12 Shaespeare in the theatre,I660-I900  KIUS OITTER13 Shakespeare in the twentieth-century theatre  LOIS POTTER14 Shakepeare and the cinema  RUSSELL JACKSON15 Shakespeare on the page and the stage  MICHAEL DOBSON16 Shakespeare Wordwide  DENNIS KENNEDY17 Shakespeare criticism,I600-I900  HUGH GRADY18 shakespeare criticism in the twentieth century  R.S.WHITE19 Shakespeare reference books  DIETER MEHLIndex

章節(jié)摘錄

The italicized phrase could restrict either the clause before or after it; a moderneditor will assign it to one or the other, but Shakespeare had it both ways.  The lexical and syntactic flexibility available to Shakespeare did not outlasthim by long. In the seventeenth century, several dictionaries were printed withan increasing number of entries beyond the specialized vocabularies of the 'hardword' lists, and by the eighteenth century everyday words were also included. Atthe same time, grammars began to appear which at first merely apply the rulesof Latin grammar to English, but then codify rules specifically for English. InI665, the Royal Society impanelled a committee of poets and philosophers tooversee the improvement of the language. Its aims were indicative of the new lin-guistic tide, condemning all 'amplifications, digressions, and swellings of style',and prescribing as ideals 'brevity and purity',s In addition it called for aneconomy of expression altogether antithetical to the repetitive practices we havebeen tracing: 'so many things almost in an equal number of words'. Shakespearedid not fare well under the new regime. Indeed the literature of the Elizabethanage in general was deemed 'barbaric' and in need of rehabilitation and refine-ment. It is in this age that Shakespeare's plays were rewritten for the stageaccording to new linguistic as well as literary criteria; and soon after began themassive editorial labour of 'correcting' what had-come to be judgedShakespeare's errors, excesses, and irregularities.   In this new cultural climate, there was one feature of Shakespeare's style thatrepeatedly came under critical fire: wordplay. The pun in particular was repeat-edly singled out as a 'fault' or 'vice' of Shakespeare and hisage. In retrospect, wecan understand why this prominent Shakespearian feature proved such an irri-tAnt to succeeding ages, The pun is unruly, working in violation of both diction-ary and grammar. Take, for example, Hamlet's famous pun on sun/son.

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《莎士比亞》：劍橋文學(xué)指南(33)

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