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The Tempest NCE (Anglais) Broché – 20 février 2004


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Amazon.com: HASH(0x8f1595e8) étoiles sur 5 16 commentaires
13 internautes sur 14 ont trouvé ce commentaire utile 
HASH(0x8f169b10) étoiles sur 5 What you deserve from Norton at a good price. 30 septembre 2009
Par Antoine Boisvert - Publié sur Amazon.com
Format: Broché Achat vérifié
I found this a very helpful and interesting adjunct to the play proper (although, of course, it has the play in it). Like most NCE's it is stuffed with extras: primary sources, critical reactions and analyses, and creative reinterpretations. The price is a little higher than the Folger or other popular Shakepeare's paperbacks, but you get a lot of bang for only a few extra bucks. Pretty cool. I found it worked well as a "Teacher's Edition."
4 internautes sur 4 ont trouvé ce commentaire utile 
HASH(0x8f169d5c) étoiles sur 5 Ian Myles Slater on: NCE Tempest Gets the Magic Right 9 octobre 2012
Par Ian M. Slater - Publié sur Amazon.com
Format: Broché
The Norton Critical Edition of the "The Tempest," edited by Peter Hulme and William H. Sherman, is my current favorite among editions of the play (edging out, for example, Frank Kermode's old edition for the "Arden Shakespeare" series.) That is more than a casual opinion. "The Tempest" is one of my favorite Shakespearean comedies (the First Folio description), alongside "A Midsummer Night's Dream," and as a one-time graduate student in English, I have spent a lot of time reading and thinking about Shakespeare.

It is also one of my favorite pre-modern fantasy stories, and I have spent a lot of time thinking about that subject as well. (I did a lot of pre-Amazon reviewing of fantasy, going back to the days of the Ballantine Adult Fantasy series.) It can meet most of the apparent mix-and-match requirements of current genre fantasy; an intimidating magician with a beautiful daughter, a brash would-be hero, political plots, their elaborate back-story, powerful spirits and a semi-human monster, and comic low-life characters. The main difference (leaving aside the medium and the style) is the question of whether evil is to be punished, or forgiven.

Hulme and Sherman have included, along with the standard selections from famous critics, and a welcome assortment of adaptations and parodies, a good selection of modern critical re-visionings, of the play, from various ideological standpoints. (For a much fuller representation, and some responses, see Gerald Graff and James Phelan, "The Tempest: A Case Study in Critical Controversy," now in its second edition.) All of these reconsiderations are at least interesting, and some of them are quite insightful.

Not that I agree with all of them. I've been known to express annoyance at, in particular, the hyper-serious "Post-Colonialist" attacks on it as some sort of Imperialist manifesto, or blueprint for the future English colonies in the New World, and even for the earlier Spanish conquests in the New World. (Presumably with the help of a convenient time machine! No, I'm not making that up -- but I am taking advantage of some ill-considered rhetorical flourishes by, e.g., George Lamming.)

After all, how can you ignore, that, except for some impatient or terrified seamen, most of the Europeans we encounter are either usurpers, or criminally-inclined, or naively idealistic, or fairly ineffectual, or drunk (and various combinations)? A selection of character faults which includes most members of the ruling class.

Or that Prospero, deposed Duke of Milan (to be pronounced Millen), has managed to replace his former complacency, not so much with keen-eyed vigilance, as with a short temper?

Or that the strange-looking Caliban, far from being a truly aboriginal inhabitant enslaved by Prospero, is the offspring of a marooned visitor-turned-conqueror? The actual native population of the island seems to consist of some surprisingly large animals for such a small area, and a variety of spirits dominated by Ariel, who made a bargain with Prospero.

Actually, these can be ignored pretty easily, since, so far as I can tell, most critics of any kind in the last four hundred years have managed to do exactly that. Along with ignoring -- or, more exactly, accepting without question -- Shakespeare's working assumptions about class and gender. Which, when examined closely, reveal him to have been an Elizabethan Englishman, inclined to consider hierarchy to be the basis of human existence, and with the social conservatism to be expected of an established property-owner. And in any case, the text, and any sub-text, probably tells us more about play's audience, and the possibility of censorship, than about the thoroughly professional author-actor who wrote it.

As for the editing of the play itself, "The Tempest" presents relatively few problems, since it occurs only in the First Folio, where it is the first play a prospective reader (or purchaser) encounters. A good scribal copy seems to have been used to set up a particularly attractive text, with only a handful of problems to be resolved. (The assignment and lineation of some of the prose, particularly in the opening scene, presents problems which will usually escape the reader or audience.) The page notes do not address these issues, but address the meanings of words, the intent of unfamiliar grammatical constructions, and a few other points of immediate importance.

Having brought up Frank Kermode's out-of-print edition, I feel I should mention some other alternatives to the Norton edition. Among familiar stand-bys (at least when I was in school), I would single out Robert Langbaum's edition of "The Tempest" for The Signet Classics, which is currently available in an expanded form (new introduction by the General Editor, new critical readings, new bibliography). Like those mentioned below, it is a mass-market paperback.

The "Folger Library General Reader's Shakespeare" editions of the plays, originally published by Washington Square Press back in the 1950-60s, edited by Louis B. Wright and Virginia A. LaMar, was immediately recognizable by the use of facing-page notes (instead of footnotes), and period illustrations selected from the Folger Library collections. The format remains, but whole series was replaced in the 1990s by completely new versions under the editorship of Barbara A. Mowat and Paul Werstine. "The New Folger Library" edition of "The Tempest" appeared in 1994, with the new series and play introductions, and an essay, "A Modern Perspective," by Mowat. It had a beautiful cover by Kinuko Y. Craft (an unusually convincing Ariel, Prospero, and Miranda). Later, the running title became just "Folger Shakespeare Library," and new, non-representational, covers were used. Some of these later printings were in trade-paperback format, but I haven't seen such an edition of "The Tempest."
1 internautes sur 1 ont trouvé ce commentaire utile 
HASH(0x8f169f9c) étoiles sur 5 Norton Critical Editions - The Most Dependable Brand in Lit 25 janvier 2016
Par Dante Minghella - Publié sur Amazon.com
Format: Broché Achat vérifié
What's to say? It's The Tempest. Bar the one pretentious single-star review further down, this is an excellent play, in an excellent edition. The Norton Critical Editions are pretty much universally loved, and for good reason - informative, detailed criticism, well-edited and presented. This is no exception. If you're a student or just a dedicated reader, this is the edition for you.
0 internautes sur 1 ont trouvé ce commentaire utile 
HASH(0x8f38a15c) étoiles sur 5 The book was obviously great because it was Shakespeare but as writers and critiques ... 11 novembre 2015
Par Dylan - Publié sur Amazon.com
Format: Broché Achat vérifié
The book was obviously great because it was Shakespeare but as writers and critiques have mentioned, being one of Shakespeare's final plays it had twists that were not noticeable. Most people know Shakespeare to be predictable in the sense that there are twists and death and so many things. The thing about this book is that it had minor twists and wasn't like Hamlet (Spoiler Alert: several characters died) and turns out nobody died and everyone went home besides the three who stayed behind. Ended as others say happily ever after when shakespeare isn't known for which in that sense is a twist because he wrote his story differently. Overall it was a good story and would read it again in my free time.
2 internautes sur 4 ont trouvé ce commentaire utile 
HASH(0x8f38a030) étoiles sur 5 A classic 21 décembre 2012
Par KD - Publié sur Amazon.com
Format: Broché Achat vérifié
The Tempest is a classic Shakespeare work. A must read for any Shakespeare and generally any literature fan. The Norton Critical Edition also provides some help with the notes at the bottom to help explain some of the language used.
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