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Descriptions du produit

Book by William Shakespeare


Détails sur le produit

  • Broché: 456 pages
  • Editeur : Arden Shakespeare; Édition : 3rd Revised edition (1 janvier 2000)
  • Collection : The Arden Shakespeare
  • Langue : Anglais
  • ISBN-10: 1903436591
  • ISBN-13: 978-1903436592
  • Dimensions du produit: 12,7 x 3 x 19,6 cm
  • Moyenne des commentaires client : 2.5 étoiles sur 5  Voir tous les commentaires (2 commentaires client)
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King Lear stands like a colossus at the centre of Shakespeare's achievement as the grandest effort of his imagination. Lire la première page
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Copyright | Table des matières | Extrait | Index | Quatrième de couverture
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Par S le 7 septembre 2014
Format: Broché Achat vérifié
J'ai eu beaucoup de mal à lire ce livre, l'intrigue n'est pas très attractive.

Livre ennuyeux.

Si vous voulez lire du Shakespeare je vous recommande plutôt As you like it, Macbeth ou La tempête.
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0 internautes sur 2 ont trouvé ce commentaire utile  Par L.H. le 21 janvier 2011
Format: Broché
Le livre lui-même est très bien, bon délai de livraison, néanmoins envoyer un livre simplement emballé de papier me semble peu prudent et peu soigneux.
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53 internautes sur 58 ont trouvé ce commentaire utile 
Great Ideas--But Beware! 10 novembre 2006
Par Mark - Publié sur Amazon.com
Format: Broché Achat vérifié
I bought this edition as a teaching supplement, not realizing that it is the folio version of the play. The words "quarto" and "folio" refer to the size of the pages in the two editions. Many secondary schools and universities use the quarto edition and a lot is left out of the folio--this version cuts out three hundred lines and adds one hundred new ones. The effect is that it alters the way the characters are shown. If you are reading the play with a class and they have a quarto version, while you are using your trusty teacher's Cambridge, chances are there will be a lot of blank expressions and confusion on their faces. The lines they see will not jibe with yours. The extra articles and class activities are great though--just make sure that if you use the Cambridge, you have your students buy only folio editions.
18 internautes sur 18 ont trouvé ce commentaire utile 
FOLGER Shakespeare Library Edition of the Tragedy of King Lear BETTER THAN EXPECTED! 2 octobre 2008
Par C. Scanlon - Publié sur Amazon.com
Format: Poche Achat vérifié
I have reviewed several current editions of King Lear and other Shakespearean plays, and was somewhat disappointed in the Folger edition of King Richard III. Nevertheless, the Folger Shakespeare Library edition of King Lear appears to be both accessible and scholarly, with solid reasoning behind its balance of the First Quarto with the First Folio versions of this intense and telling tragedy which we do well to revisit now.

My first love will always be Prof. Tucker Brook's redaction in the The Tragedy Of King Lear (The Yale Shakespeare) which against the academic preferences of the time chose the First Quarto over the First Folio. The reasons given by the Late Prof. are compelling, and brought about a generation of conflated editions which combined the two versions. The Quarto came first in publication, of course, and is longer; the Folio is later and does not contain several lines present in the Quarto (I believe about three hundred) yet introduces several (perhaps one hundred) of its own.

And so we have a generation of productions which sought to combine the two. For instance we have an early recording of Paul Scofield as the King using a conflated edition and a later recording from his eighties in which only the Folio is used: King Lear (Naxos AudioBooks), following as it states the The Tragedy of King Lear (The New Cambridge Shakespeare), a strictly First Folio presentation. The greatest available recording is of course the Branagh - Gielgud production King Lear (BBC Radio Presents) which must be purchased and repeatedly heard, as it is real. Be certain to get the accompanying brochure.

Be that as it may, with this brief description of the history of this tortured text, let me state this present edition from Folger presents solid reasons for its always arbitrary choices. While stating their preference for the First Folio edition, they actually publish here a conflated version, with variant readings in a variety of brackets and poiinted parentheses, with explanations. They have produced therefore something here of great value, yet at a small price and therefore accessible to any classroom, production company or reader.

As usual the Folger diverges from the usual Critical Edition format of a third of a page of text, a strip of variorum and a third of a page of notes to the text above. Folger correctly fids more readable a diptych approach. In opening the book to the play, the reader discovers on the right hand page the text and on the left hand page notes. Further specific notes are discovered in the back.

In short (if it is not too late to write that) this book may approach any other critical edition, and passes many (let us not mention the unfortunate Joe Pearce's attempt). It presents a thorough examination of Shakespeare's life and theatre, suggestions on reading "his" language, and on reading Lear, this great tragedy for our times. A critical essay by Susan Snyder is included in the back, as well as suggestions for further readings. I find this edition in brief very useful for any new scholar of Lear, and I only wish I could now afford the new King Lear: New Critical Essays (Shakespeare Criticism), or even Critical Essays on Shakespeare's King Lear (Critical Essays on British Literature), and the rest.
16 internautes sur 16 ont trouvé ce commentaire utile 
Conflation fights back 20 avril 2010
Par Jon Chambers - Publié sur Amazon.com
Format: Broché
Although RA Foakes' Arden3 edition appeared some years after those of Wells & Taylor (Complete Oxford) and Jay L Halio (Cambridge) it did not follow their precedent of issuing separate texts based on Quarto and Folio originals. These early texts (Q 1608 and F 1623 respectively) occasionally offer quite different versions of the play and reconciling them to form a single, coherent whole is a task that is, arguably, less elegant than the dual edition solution. By comparison, Arden's text looks cumbersome, with numerous Q and F superscripts surrounding passages found exclusively in one or other source.

Foakes is well aware that his single, 'conflated' text isn't as fashionable as those of the 'revisionists' mentioned above, who believe that the Folio text of Lear represents Shakespeare's revised and final draft, and that modern editors should not pick and mix between Q and F but respect the integrity of the two early sources. While seemingly reactionary, Foakes is in fact countering the new orthodoxy of Halio et al. In his view, their 'dogmatic and purist stance ... abandons the idea of King Lear as a single work of which we have two versions.' He is cautious and level-headed in his approach, aware of the limitations of scholarly speculation and in presenting both Q and F variants he allows the reader to make up her/his own mind.

Aside from this central controversy, Arden3 Lear has much to offer. Foakes reminds us of some key differences between the Jacobean world and our own: the original audience, he says, would have tuned in much more readily than us to puns and linguistic innovation; grasped the symbolic difference between crown and coronet; fully understood the distinctions of 'thou' and 'thee'; and recognised the constitutional impossibility of a monarch giving away his kingdom as though it were in his personal gift. The Introduction also presents illuminating discussions on loyalty and disobedience (in which Oswald could conceivably be seen as an ideal servant and Kent a bad one), on the problem of illusion in Gloucester's attempted suicide (IV.6) and on the influence of writers such as Harsnett, Erasmus and Montaine. Plentiful examples of dramatic practice from the play's long stage history are skilfully integrated into these discussions, while its equally rich critical history - especially that of the C20 - is helpfully evaluated. The conclusion is that there can be no return to Christian redemptionist optimism on the one hand or to totally nihilistic interpretations on the other. A recognition of the play's complexity, paradoxes and contradictions have led many to feel, in the words of Richard Fly, 'a deep distrust of all attempts at closure' in King Lear.

Ultimately, therefore, this Arden3 is not as radical as rival editions. But it presents an honest, balanced and democratic version of the play in which judgements are occasionally forcefully expressed and occasionally left unresolved. It is comprehensive, authoritative and thought-provoking and should be of value to any serious student.
25 internautes sur 29 ont trouvé ce commentaire utile 
Shakespeare at his best 22 juillet 1999
Par Andy Morgan - Publié sur Amazon.com
Format: Broché
King Lear was written at Shakespeare's most prolific period, a time in which he rapidly composed Hamlest, Othello, and Macbeth. I believe, without a moments hesitation, that King Lear is his greatest work, and probably the greatest play ever written. The plot moves quickly with excitement and action. The central themes of the play (among which are abandonment, unconditional love, and self-realization) are some of the most serious and important aspects of human nature. The play brings up many important quiestions: Why should we forgive others? Can we ever trust someone? All of these areanswered in this play. I recently saw a professional production of the play, and found myself quickly moving from emotions of fear, to laughing, to wrath, and at the climactic end of the play, breaking down into tears, having been drained by the plays rapid motion and tension. This play will live with me forever.
16 internautes sur 18 ont trouvé ce commentaire utile 
Nothing will come of nothing 25 mai 2000
Par Maginot - Publié sur Amazon.com
Format: Broché
"Nothing will come of nothing" the fatal line Lear utters to Cordelia sums up the entire play. The wizened king believes he is urging Cordelia not to refrain from expressing her love for him when in fact he is unwittingly prompting her to use the same insincere flattery as her sisters. When Cordelia refuses to acquiesce to Lear's wishes, he banishes her from the kingdom and divides it among her nefarious sisters Goneril and Reagan. In doing this Lear accepts their empty flattery instead of Cordelia's austere profession of paternal love. Goneril and Reagan quickly betray Lear and then turn against each other. Thus Lear's preference for empty flattery (nothing) destroys his authority and embroils his kingdom in civil strife (generates nothing).
This theme runs like a thread through other parts of the play. Gloucester's blindness toward the nature of his sons results in his literal blindness later in the play. Metaphorical blindness generates physical blindness (nothing comes of nothing). Similarly, after Edgar is banished he avoids further harm by shedding his identity and disguising himself as a vagrant. In the new order of things eliminating one's status results in no harm (another version of nothing coming from nothing).
The motif of nothing coming from nothing has psychological and political ramifications for the play. From a psychological point of view Lear fails to realize that the type of adulating love he wants from Cordelia no longer exists because Cordelia is no longer a child. Her refusal to flatter Lear is, in a sense, an act of adolescent rebellion. Lear's failure to recognize the fact that Cordelia still loves him but not with the totality of a child proves to be his undoing. From a political point of view the fact that Lear divides his kingdom on the basis of protocol (who is the most flattering) instead of reality (whose words can he really trust) also proves to be his undoing. The fact that Lear sees what he wants to see instead of what he should see is the fulcrum of destruction throughout the play.
It is interesting to note that "King Lear" was staged barely one generation after England endured a bitter war of succession (The War of the Roses). The sight of Lear proclaiming his intention to divide his kingdom must have shocked contemporary audiences in the same manner that a play about appeasing fascists might disturb us today.
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