|
||||||||||||||||||||
|
||||||||||||||||||||
|
||||||||||||||||||||
| |||||||||||||||
 Gutschein erhalten
Tauschen Sie jetzt As You Like It: Third Series (Arden Shakespeare Third) gegen einen Amazon-Gutschein in Höhe von EUR 1,75 ein - einlösbar für Tausende von Artikeln bei Amazon.de. Entdecken Sie mehr eintauschbare Bücher im Bücher Trade-In Shop. Bitte beachten Sie die Teilnahmebedingungen.
 Jetzt für Amazon Student anmelden und um 20% erhöhten Eintauschwert sichern. |
Wird oft zusammen gekauft
Produktinformation
|
Mehr über den Autor
Entdecken Sie Bücher, lesen Sie über Autoren und mehr
› Besuchen Sie die Seite von William Shakespeare auf Amazon
› Besuchen Sie die Seite von William Shakespeare auf Amazon
Produktbeschreibungen
Pressestimmen
'An Arden editor must present an overview of the play's criticism [and] must also take into account the play's ongoing dissemination through performance on stage and screen. Despite these arduous demands, Dusinberre's edition, with its editorial apparatus, its substantial introduction (142 pages), its notes, and its various appendices, fulfills the above requirements admirably...Dusinberre addresses a theatre history that bears witness to the impact that various social movements, especially feminism and gay/lesbian (and now queer) activism, have had on the performance of one of Shakespeare's most gender-bending plays...It inscribes the feminist, queer, and historicist criticism of the past thirty years into the historical memory of Shakespeare studies.' (Shakespeare Quarterly )
'If As you Like It is rich in human feeing, a highly conceptualised Tempest seems to exist in the threshold between walking and dreaming.' (Claire Allfree, Metro, 25.6.10 )
'This is one of Shakespeare's most sophisticated comedies, an ironic fairy tale of love and sex, sincerity and pretension, betrayal and loyalty.' (John Peter, Sunday Times, 3.10.10 )
'If As you Like It is rich in human feeing, a highly conceptualised Tempest seems to exist in the threshold between walking and dreaming.' (Claire Allfree, Metro, 25.6.10 )
'This is one of Shakespeare's most sophisticated comedies, an ironic fairy tale of love and sex, sincerity and pretension, betrayal and loyalty.' (John Peter, Sunday Times, 3.10.10 )
Kurzbeschreibung
With its explorations of sexual ambivalence, As You Like It speaks directly to the twenty-first century. Juliet Dusinberredemonstrates that Rosalind's authority in the play grows from new ideas about women and reveals that Shakespeare's heroine reinvents herself for every age. But the play is also deeply rooted in Elizabethan culture and through it Shakespeare addresses some of the hotly debated issues of the period."This will be the definitive edition of As You Like It for many years to come" - Phyllis Rackin, University of Pennsylvania
Welche anderen Artikel kaufen Kunden, nachdem sie diesen Artikel angesehen haben?
In diesem Buch
(Mehr dazu)
Einleitungssatz
As You Like It, with its cross-dressed heroine, gender games and explorations of sexual ambivalence, its Forest of Arden and melancholy Jaques, speaks directly to the twenty-first century. Lesen Sie die erste Seite Ausgewählte Seiten ansehen
Buchdeckel | Copyright | Inhaltsverzeichnis | Auszug | Stichwortverzeichnis
As You Like It, with its cross-dressed heroine, gender games and explorations of sexual ambivalence, its Forest of Arden and melancholy Jaques, speaks directly to the twenty-first century. Lesen Sie die erste Seite Ausgewählte Seiten ansehen
Buchdeckel | Copyright | Inhaltsverzeichnis | Auszug | Stichwortverzeichnis
Vorgeschlagene Tags zu ähnlichen Produkten(Was ist das?)Setzen Sie den ersten relevanten Tag hinzu (ein Schlüsselwort, das mit diesem Produkt in engem Zusammenhang steht).
|
Eine digitale Version dieses Buchs im Kindle-Shop verkaufen
Wenn Sie ein Verleger oder Autor sind und die digitalen Rechte an einem Buch haben, können Sie die digitale Version des Buchs in unserem Kindle-Shop verkaufen.
Weitere Informationen
Kundenrezensionen
Die hilfreichsten Kundenrezensionen
1 von 1 Kunden fanden die folgende Rezension hilfreich
Format:Taschenbuch
As You Like It has many qualities to attract readers and audiences. Rosalind is one of the great heroines of all romantic literature. The play has more outstanding speeches than almost any other that has ever been written. Astonishing plot complications are quickly resolved in the simplest possible way, reflecting a playwright's tour de force. The Forest of Arden appears as a character in creating a magical atmosphere whereby all perceptions change, and all are healed. Right wins out, especially in drawing on good character . . . even from formerly badly behaving people. And for those who love marriages, this book has one of the most impressive ceremonies of all time in literature. Humans have never looked nobler in the end than in this play. Yet the play also abounds with some of the greatest lines of Shakespeare's fools that cause all of us to see that humility is more called for than pride or ambition. Certainly, As You Like It will make you feel the presence of an unmatched genius, that should inspire even the most arrogant to feel humbled in the Bard's presence.
My recommendation is that you first see a performance (whether in person, or on a recording). If that's not possible, try for an audio. Many outstanding actors have been taped. After you have the sights and sounds of the play firmly in mind, then read the play. You'll find that your earlier experiences will unlock more of the play's depths, imagery and pleasures for you.
Where in life is being true to your word very important? How can you improve your life by being more reliable in this way?
My recommendation is that you first see a performance (whether in person, or on a recording). If that's not possible, try for an audio. Many outstanding actors have been taped. After you have the sights and sounds of the play firmly in mind, then read the play. You'll find that your earlier experiences will unlock more of the play's depths, imagery and pleasures for you.
Where in life is being true to your word very important? How can you improve your life by being more reliable in this way?
Format:Taschenbuch
Der Artikel wurde mir in neuem Zustand sehr schnell zugesandt, sodass ich schnell damit arbeiten konnte.
Die hilfreichsten Kundenrezensionen auf Amazon.com (beta)
Amazon.com:
5 Rezensionen
5 von 5 Kunden fanden die folgende Rezension hilfreich
A Major Third
20. April 2010
Format:Taschenbuch
We might expect an academic who has made her name as a feminist critic to find something interesting to say about 'As You Like It'. Juliet Dusinberre doesn't disappoint. Although its aspects of performance history can be a little wearisome, her Introduction is richly rewarding. Not surprisingly, she makes much of the play's cross-dressing and role-playing (boy playing woman playing man). She finds questions of gender much more ambiguous and complex than they first appear and presents an account of a play in which liberating modes of behaviour can be adopted as easily as costumes can be donned. It is a play which 'redefines gender'.
Equally subversive, she thinks, are the play's allusions to Robin Hood. Duke Senior's comradely courtiers are partners rather than subjects, and his court more communal than hierarchic. Together with the animal welfare concerns expressed in the play, the Duke's vegetarian tendencies (which echo the real-life courtier John Harington's) and Orlando's 'challenge to primogeniture' (it is he, after all, who inherits a dukedom), the 'alternative', revolutionary elements of AYL are neatly drawn attention to.
There are some inspired insights. Touchstone's 'dreadful joke', as Dusinberre calls it (about pancakes in 1.2), makes sense if the court performance at Richmond Palace took place on the Shrove Tuesday of 1599, as she thinks highly likely. And Dusinberre further suggests that some of the play's exotic features (like the lion in 3.2.) were matched by the elaborate wood carvings in Richmond's outer court, while Rosalind's reference to Troilus not dying for love might have been accompanied by a gesture to the tapestry depicting Troy hanging in Richmond's Great Hall where plays were performed. In essence, therefore, she sees the palace as the 'perfect ambience' for the play, with its sense of rural retreat and with deer roaming outside its west wall.
But Dusinberre is careful to present the Forest of Arden as more than just a fairy-tale rural retreat. It is a place that represents the challenge of the unfamiliar and of harsh political exile. It is also a place which reflects the real, contemporary world of displacement brought about by land enclosure and political instability (in the year of Essex's fateful Irish campaign).
The Introduction is also radical and illuminating in its discussion of Elizabethan play reading. Dusinberre argues that AYL is particularly rewarding as a text to be read at leisure and that its wordplay is often better appreciated on the page than on the stage. She argues that puns such as Touchstone's 'faining/feigning' 'could only be appreciated by readers'. Dusinberre examines a recent school of thought (led by Lukas Erne) inclining to the view that not only did the printed word add an extra witty dimension, but that Shakespeare actively took readers into account when writing plays.
The comprehensively researched Commentary is equally impressive. It bears testimony to the rich heritage of Shakespearean scholarship which has unearthed a staggering amount of detail about the halcyon period of English drama, 1590-1610. This edition will probably allow for as full an appreciation of the play as is currently possible.
Equally subversive, she thinks, are the play's allusions to Robin Hood. Duke Senior's comradely courtiers are partners rather than subjects, and his court more communal than hierarchic. Together with the animal welfare concerns expressed in the play, the Duke's vegetarian tendencies (which echo the real-life courtier John Harington's) and Orlando's 'challenge to primogeniture' (it is he, after all, who inherits a dukedom), the 'alternative', revolutionary elements of AYL are neatly drawn attention to.
There are some inspired insights. Touchstone's 'dreadful joke', as Dusinberre calls it (about pancakes in 1.2), makes sense if the court performance at Richmond Palace took place on the Shrove Tuesday of 1599, as she thinks highly likely. And Dusinberre further suggests that some of the play's exotic features (like the lion in 3.2.) were matched by the elaborate wood carvings in Richmond's outer court, while Rosalind's reference to Troilus not dying for love might have been accompanied by a gesture to the tapestry depicting Troy hanging in Richmond's Great Hall where plays were performed. In essence, therefore, she sees the palace as the 'perfect ambience' for the play, with its sense of rural retreat and with deer roaming outside its west wall.
But Dusinberre is careful to present the Forest of Arden as more than just a fairy-tale rural retreat. It is a place that represents the challenge of the unfamiliar and of harsh political exile. It is also a place which reflects the real, contemporary world of displacement brought about by land enclosure and political instability (in the year of Essex's fateful Irish campaign).
The Introduction is also radical and illuminating in its discussion of Elizabethan play reading. Dusinberre argues that AYL is particularly rewarding as a text to be read at leisure and that its wordplay is often better appreciated on the page than on the stage. She argues that puns such as Touchstone's 'faining/feigning' 'could only be appreciated by readers'. Dusinberre examines a recent school of thought (led by Lukas Erne) inclining to the view that not only did the printed word add an extra witty dimension, but that Shakespeare actively took readers into account when writing plays.
The comprehensively researched Commentary is equally impressive. It bears testimony to the rich heritage of Shakespearean scholarship which has unearthed a staggering amount of detail about the halcyon period of English drama, 1590-1610. This edition will probably allow for as full an appreciation of the play as is currently possible.
7 von 8 Kunden fanden die folgende Rezension hilfreich
Finally, the third series AYL
2. April 2007
Format:Taschenbuch|Von Amazon bestätigter Kauf
Over the years, despite the fact that The Riverside Shakespeare is my primary course text, I've found the third series Arden paperbacks as an indispensable source for my college-level Shakespeare classes (the second series versions, of course, feature an older and often quite out-of-date understanding of the criticism and characters). As You Like It is one play that I teach consistently, semester by semester, so I was naturally very pleased when this volume arrived. It does not disappoint: the introductory material is superb and, as always, the notes quite helpful. Viva Rosalind!
0 von 1 Kunden fanden die folgende Rezension hilfreich
Review of Arden's 'As You Like It'
19. Januar 2011
Format:Taschenbuch
It's hard to insult the Arden editions of Shakespeare. Even if a scholar were to find specific points within the editions vast fields of footnotes and several waves of appendices, this would not outdo the beauty of these editions. There is a certain virtue to making scholarship so utterly prolific and thorough-going that one can almost expect some failures. This is essentially a presentation of the play accompanied by many, many interpretations and thematic rabbit trails. One comes to understand the history, content (and so the context) of the work to as full a measure as possible in one volume.
Waren diese Rezensionen hilfreich?
Wir wollen von Ihnen hören.
Kunden diskutieren
|
Das Forum zu diesem Produkt
Fragen stellen, Meinungen austauschen, Einblicke gewinnen Aktive Diskussionen in ähnlichen Foren
Kundendiskussionen durchsuchen
|
Ähnliche Foren
|
||||||||||||||||||||||||||||||||||
Lieblingslisten
|
|
Ähnliche Artikel finden
Anhand des Sachgebietes nach ähnlichen Produkten suchen:
Ihr Kommentar
Möchten Sie die Produktinformationen aktualisieren oder Feedback zu den Produktabbildungen geben?
|
