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'Jill Paton Walsh has created a Miss Marple for the 21st century' - Mirror 'A jewel in the traditional English detective mode . . . Ms. Morse has arrived' - Observer Another foolhardy Cambridge college night climber has died attempting Harding's Folly. This time it's John Talentire, one of the brightest young dons at St Agatha's, and the verdict is accident, compounded by idiocy. But college nurse Imogen Quy can't help wondering how such a clever young man died so stupidly. And when a wildly eccentric production of Hamlet is interrupted by a murder accusation, Imogen investigates, uncovering more crime than she expected . . .
Another foolhardy Cambridge college-climber has died attempting Harding's Folly. This time it's John Talentire, one of the brightest young dons at St Agatha's, and the verdict is accident, compounded by idiocy. But Imogen Quy - her name rhymes with 'why' - can't help wondering how such a clever young man died so stupidly. And when a wildly eccentric production of Hamlet is interrupted by a murder accusation, Imogen has to look into it, uncovering more crime than she expected.
'Jill Paton Walsh has created a Miss Marple for the 21st century' - Mirror 'A jewel in the traditional English detective mode . . . Ms. Morse has arrived' - Observer Another foolhardy Cambridge college night climber has died attempting Harding's Folly. This time it's John Talentire, one of the brightest young dons at St Agatha's, and the verdict is accident, compounded by idiocy. But college nurse Imogen Quy can't help wondering how such a clever young man died so stupidly. And when a wildly eccentric production of Hamlet is interrupted by a murder accusation, Imogen investigates, uncovering more crime than she expected . . .
Author : Robert E. Burkhart Publisher : Walter de Gruyter GmbH & Co KG Page : 124 pages File Size : 45,9 Mb Release : 2018-11-05 Category : Literary Criticism ISBN : 9783110878561
“[Ron Rosenbaum] is one of the most original journalists and writers of our time.” –David Remnick In The Shakespeare Wars, Ron Rosenbaum gives readers an unforgettable way of rethinking the greatest works of the human imagination. As he did in his groundbreaking Explaining Hitler, he shakes up much that we thought we understood about a vital subject and renews our sense of excitement and urgency. He gives us a Shakespeare book like no other. Rather than raking over worn-out fragments of biography, Rosenbaum focuses on cutting-edge controversies about the true source of Shakespeare’s enchantment and illumination–the astonishing language itself. How best to unlock the secrets of its spell? With quicksilver wit and provocative insight, Rosenbaum takes readers into the midst of fierce battles among the most brilliant Shakespearean scholars and directors over just how to delve deeper into the Shakespearean experience–deeper into the mind of Shakespeare. Was Shakespeare the one-draft wonder of Shakespeare in Love? Or was he rather–as an embattled faction of textual scholars now argues–a different kind of writer entirely: a conscientious reviser of his greatest plays? Must we then revise our way of reading, staging, and interpreting such works as Hamlet and King Lear? Rosenbaum pursues key partisans in these debates from the high tables of Oxford to a Krispy Kreme doughnut shop in a strip mall in the Deep South. He makes ostensibly arcane textual scholarship intensely seductive–and sometimes even explicitly sexual. At an academic “Pleasure Seminar” in Bermuda, for instance, he examines one scholar’s quest to find an orgasm in Romeo and Juliet. Rosenbaum shows us great directors as Shakespearean scholars in their own right: We hear Peter Brook–perhaps the most influential Shakespearean director of the past century–disclose his quest for a “secret play” hidden within the Bard’s comedies and dramas. We listen to Sir Peter Hall, founder of the Royal Shakespeare Company, as he launches into an impassioned, table-pounding fury while discussing how the means of unleashing the full intensity of Shakespeare’s language has been lost–and how to restore it. Rosenbaum’s hilarious inside account of “the Great Shakespeare ‘Funeral Elegy’ Fiasco,” a man-versus-computer clash, illustrates the iconic struggle to define what is and isn’t “Shakespearean.” And he demonstrates the way Shakespearean scholars such as Harold Bloom can become great Shakespearean characters in their own right. The Shakespeare Wars offers a thrilling opportunity to engage with Shakespeare’s work at its deepest levels. Like Explaining Hitler, this book is destined to revolutionize the way we think about one of the overwhelming obsessions of our time.
Reforming the "bad" Quartos by Kathleen O. Irace Pdf
If, as this study argues, the actors also adapted the plays, the short quartos preserve the earliest fast-paced popular adaptations of Shakespeare's plays, designed by the actors to please the million.
The First Two Quartos of Hamlet by Margrethe Jolly Pdf
It is nearly two centuries since the first quarto of Hamlet was rediscovered, yet there is still no consensus about its relationship to the second quarto. Indeed, the first quarto, the least frequently read Hamlet, has been dismissed as “corrupt,” “inferior” or like “a mutilated corpse,” even though in performance it has been described as “the absolute dynamo behind the play.” Currently one hypothesis dominates explanations about the quartos’ interrelationship, supposing that the first quarto (published 1603) was reconstructed from memory by one or more actors who had performed minor roles in a version of the second quarto (published 1604–5). The present study reports on a detailed linguistic reassessment of the principal arguments for memorial reconstruction. The evidence—including a three way comparison between the underlying French source in Les Histoires Tragiques and the two quartos, and the informal features and specific grammatical aspects, and a documented memorial reconstruction in 1779—does not support the dominant hypothesis. The cumulative evidence suggests that the earliest scholars to examine the first quarto were right: the 1603 Hamlet came first, and the second quarto is a substantial, later revision.