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A Midsummer Night's Dream: The Oxford Shakespeare (Anglais) Broché – 17 avril 2008

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Descriptions du produit

Revue de presse

The commentary is admirably lucid and undogmatic on textual variants ... The introduction is of the kind that ponders and explores. Holland's method is to take each aspect or element of the play and consider it in the light of earlier traditions ... his critical position emerges unobtrusively but persuasively from the attested facts. (M.M. Mahoud, YES, 27, 1996)

Présentation de l'éditeur

A Midsummer Night's Dream is perhaps the best loved of Shakepeare's plays. It brings together aristocrats, workers, and fairies in a wood outside Athens, and from there the enchantment begins. Simple and engaging on the surface, it is none the less a highly original and sophisticated work, remarkable for both its literary and its theatrical mastery. It is one of the very few of Shakespeare's plays which do not draw on narrative sources, which suggests that it reflects his deepest imaginative concerns to an unusual degree. In his introduction Peter Holland pays particular attention to dreams and dreamers, and to Shakespeare's construction of a world of night and shadows. Both here and in his commentary he explores the play's extensive performance history to illustrate the wide range of interpretations of which it is capable. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

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Détails sur le produit

  • Broché: 288 pages
  • Editeur : Oxford Paperbacks; Édition : Reprint (17 avril 2008)
  • Collection : World Classics
  • Langue : Anglais
  • ISBN-10: 0199535868
  • ISBN-13: 978-0199535866
  • Dimensions du produit: 19,3 x 2,3 x 12,7 cm
  • Moyenne des commentaires client : 5.0 étoiles sur 5  Voir tous les commentaires (2 commentaires client)
  • Classement des meilleures ventes d'Amazon: 10.961 en Livres anglais et étrangers (Voir les 100 premiers en Livres anglais et étrangers)
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Couverture | Copyright | Table des matières | Extrait | Quatrième de couverture
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Format: Broché
Ce livre a une très bonne préface critique et analytique. Il permet de découvrir la version originale du livre de Shakespeare. Il s'adresse aux travaux universitaires sur l'auteur.
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Par D. Sonia le 18 avril 2013
Format: Broché Achat vérifié
Pièce en Anglais enrichie de commentaires de texte et de l'oeuvre elle-même. Très complet pour affiner son étude de A Midsummer Night's Dream.
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4 internautes sur 4 ont trouvé ce commentaire utile 
Lucid Dream 12 octobre 2011
Par Jon Chambers - Publié sur Amazon.com
Format: Broché
Most editors are well disposed towards the plays they are asked to edit and Peter Holland is no exception - he tells us that there was no other title he'd have chosen in preference. Not everyone would agree with him about the play's merits, however. His undergraduate friend considered it 'a pappy play', and there have been plenty of other disparaging comments across the centuries. (Famously, Pepys described Dream as 'the most insipid ridiculous play', while for Malone it was unbelievably thin and trite.) After reading this exemplary edition, which reveals much of its full complexity, Dream should not be mistaken for such simple and unsubstantial fare again.

Holland begins with a succinct account of modern dream theories, before tackling Classical, medieval and Renaissance views. Particularly interesting is his discussion of treatments of dream in the literature of Shakespeare's contemporaries, where Robert Greene's dismissive stance approximates to that of the rational (but limited) Theseus, while Thomas Lodge's more credulous acceptance of dreams and their mystery aligns him more closely with Hippolyta.

The Introduction is astute as well as comprehensive. It observes that doubling the roles of Theseus/Oberon and Hippolyta/Titania has become routine since the 60s, but is critical of those who see this revival of doubling primarily as a solution to financial or pragmatic problems, insisting that it originally had an 'interpretative' function. Holland sees the Elizabethan practice of doubling as a structural device, where 'the audience's recognition of an actor was used to underline the interconnectedness of a series of roles he performed in a play.'

Although I'm no historian of critical thought, it seems to me at least that Holland anticipates some of the more influential work of recent scholars. Louis Montrose's study of the Elizabethan theatre's subversion of patriarchal values is hinted at in this edition's Commentary. (See the note on Bottom's apparently innocent use/misuse of the word 'deflowered', p247n, for example.) Equally praiseworthy are the references made to those filmed versions of Dream, like Reinhardt's (1935), that might be considered too dated for extensive, post-Peter Brook discussion.

Arden's forthcoming Dream will have a difficult job surpassing its Oxford competitor, first published in 1994. It's just a shame that in the intervening 17 years OUP haven't managed to reference page numbers mentioned in at least three sections of the book: Introduction, Editorial Procedures and Commentary. 'See p000' might suffice at proof stage, but it really isn't good enough so many years on. Peter Holland's informed and constantly illuminating edition deserves better.
1 internautes sur 1 ont trouvé ce commentaire utile 
Geat Study Guide 3 septembre 2013
Par Frank D. Shutts II - Publié sur Amazon.com
Format: Broché Achat vérifié
The Oxford and Cambridge have so many notes that any serious director, actor, or student is much better served by this edition than Folgers; however, Folgers is good for students who want an easy introduction to the Bard.
1 internautes sur 2 ont trouvé ce commentaire utile 
"Lord, what fools these mortals be!" 23 octobre 2013
Par P. Webster - Publié sur Amazon.com
Format: Broché
These Oxford editions of Shakespeare's plays in my opinion have one good point and one bad point. On the positive side, the explanatory notes are very good, and they are placed at the foot of each page for easy reference. On the negative side, I find the introductions to be over-academic for the general reader. For example, I'm not convinced that we need to know what Freud, Jung and Wittgenstein said about dreams in order to enjoy, appreciate and understand this play. The five stars I am giving are for Shakespeare: I would give Oxford four.

As for this wonderful play itself, I obviously cannot come up with anything new to say that has not already been said. But I can summarise what I think are the main points that have been made by various commentators.

Shakespeare cleverly weaves together three separate sets of characters whose paths cross: the aristocrats, the workers and the fairies. He also shows us two distinct but overlapping worlds: the normal world of the city and the magical world represented by the fairies, the wood, the moon, dreams, confusion, and reality turned upside-down. (Apparently in Shakespeare's time "wood" could also mean "mad".)

A central theme of the play is summed up in the famous line: "The course of true love never did run smooth." There is the conflict between marriage for love and marriage according to the wishes of parents. But there is also the fickleness of lovers themselves.

Another theme involves the conflict and confusion, including the disruption of nature, which arises from the quarrels of both the fairy king and queen and of the humans. These conflicts and confusions are resolved in the end, with harmony being achieved:

"Jack shall have Jill,
Naught shall go ill,
The man shall have his mare again,
And all shall be well."

For me, the only problem with the play is that the "mechanicals" (workers), although funny, are treated as simple folk in a rather patronising and condescending way. Similarly, in "Julius Caesar", Shakespeare portrays the Roman masses as a fickle mob, easily swayed by demagogues.

But overall this is a marvellous play which takes us into a magical world, and which contains some memorable lines and some beautiful poetry.

Phil Webster.
1 internautes sur 2 ont trouvé ce commentaire utile 
What night-rule now about this haunted grove? 10 août 2010
Par EA Solinas - Publié sur Amazon.com
Format: Broché
It's neither the best nor worst of Shakespeare's many comedies, but "A Midsummer Night's Dream" definitely holds one honor -- it's the most fantastical of his works. This airy little comedy is filled with fairies, spells, love potions and romantic mixups, with only the bland human lovers making things a little confusing (who's in love with whom again?).

As Athens prepares for the wedding of Theseus and Hippolyta, the fusty Egeus is demanding that his daughter Hermia marry the man he's chosen for her, Demetrius. Her only other options are death or nunhood.

Since she's in love with a young man named Lysander (no, we never learn why her dad hates Lysander), Hermia refuses, and the two of them plot to escape Athens and marry elsewhere. But Helena, a girl who has been kicked to the curb by Demetrius, tips him off about their plans; he chases Hermia and Lysander into the woods, with Helena following him all the way. Are you confused yet?

But on this same night, the fairy king Oberon and his queen Titania are feuding over a little Indian boy. Oberon decides to use a magical "love juice" from a flower to cause some trouble for Titania by making her fall in love with some random weaver named Nick Bottom (whom his henchman Puck has turned into a donkey-headed man). He also decides to have Puck iron out the four lovers' romantic troubles with the same potion. But of course, hijinks ensue.

"A Midsummer Night's Dream" is another one of Shakespeare's plays that REALLY needs to be seen before it's read. Not only is it meant to be seen rather than read, but the tangle of romantic problems and hijinks are a little difficult to follow... okay, scratch that. They can be VERY difficult to follow, especially if you need to keep the four lovers straight.

But despite those small flaws, Shakespeare is in rare form here -- the story floats along in an enchanted haze of fairy magic, forest groves, and a love square that twists in on itself. And Shakespeare's lush, haunting poetry is absolutely lovely here ("With sweet musk-roses and with eglantine/There sleeps Titania sometime of the night/Lull'd in these flowers with dances and delight...").

But he also packs it with plenty of hilarity -- not only is it funny to read about the haughty fairy queen fawning over a guy with a donkey head (Nick Bottom = "ass's head", get it?), but there's plenty of funny moments in the dialogue ("Thisby, the flowers of odious savours sweet...").

The four main lovers are relatively bland and interchangeable, and we never find out much about them except that Helena is kind of stalkerish and not too bright (she tips off the guy she likes that the girl HE likes is eloping so he can stop her?). The real draws are the fairy creatures -- Titania and Oberon are proud alien creatures filled with both cruelty and kindness, and Puck is delightfully mischievous and.... puckish.

"A Midsummer Night's Dream" is a shimmering little concoction of magic, romantic mayhem and fairy squabbling. Absolutely stunning.
1 internautes sur 2 ont trouvé ce commentaire utile 
Another glorious gift from WS; sadly lax editing from OUP... 10 septembre 2013
Par an acquaintance - Publié sur Amazon.com
Format: Broché
In 'A Midsummer Night's Dream', the genius of Shakepeare's work is clear, unmistakable, and magnificently in evidence. So why 'only' four stars? Because the editors at Oxford University Press did not catch an error in the notes, and for a publisher with otherwise very high standards, this is something troubling, and shows lax standards.
Apparently unwittingly, the writer of the notes affirms the claim made by filmmaker Kenneth Anger that he (Anger) appears as the child Indian prince in the 1935 film production of William Dieterle's 'A Midsummer Night's Dream.' In fact it was more than likely not Anger at all, but a young female child actress, that appeared in the film. There are considerable documentation and records available to back this. Kenneth Anger, while a pioneering filmmaker and outstanding talent, has been known to be prone to self-mythologizing and outright lying (for example his 1967 'In Memoriam' sensationalist notice in a magazine, wherein he falsely announced his own death). The erudite editor(s) at Oxford University Press should pay more careful attention to their work.
This 2008 reissue edition of the Oxford Shakespeare is otherwise excellent, and I highly recommend it. Enjoy the splendid story. Just be careful not to gulp down the (editorial) misinformation.
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