Mastering Shakespeare:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Basingstoke [u.a.]
Macmillan
1998
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| Ausgabe: | 1. publ. |
| Schriftenreihe: | Macmillan master series
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | XVIII, 398 S. Ill. |
| ISBN: | 0333698738 |
Internformat
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Datensatz im Suchindex
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| adam_text | Mastering
0 Shakespeare
Richard Gill
Illustrations by Stephen Cranham
MACMILLAN
0 Contents
Preface xvi
Acknowledgements xviii
PARTI THE WORLD OF SHAKESPEARE
t 1 What s it all about? 3
v11 Themes in Shakespeare ( what a question s that ) 3
1 2 Themes in individual plays ( so singular in each particular ) 4
1 3 Shakespeare s main themes ( greater themes ) 4
1 4 The themes of love and war ( double business ) 6
1 5 The best thing and the worst thing ( What is love? ) 8
1 6 Young love ( this man and maid ) 8
1 7 The value of love ( to love, to wealth ) 8
1 8 Sudden love ( a plague/That Cupid will impose ) 9
1 9 The signs of love ( old signs ) 10
1 10 How lovers behave ( here come the lovers ) 10
1 11 How lovers talk ( if you speak love ) 11
1 12 Laughing at lovers ( most loving mere folly ) 13
1 13 Love, action and enterprise ( and now tis plotted ) 13
1 14 Cupid and the blindness of love ( the sign of blind Cupid ) 14
1 15 Love and the old ( Saturn and Venus this year in
conjunction ) 14
1 16 Sex ( When the blood burns ) 15
1 17 The pains of love ( O misery ) 15
1 18 Love and war ( slain in Cupid s wars ) 16
1 19 The ambiguity of war ( pride, pomp, and circumstance
of glorious war ) 17
1 20 Leaving for war ( Yours in the ranks of death ) 17
1 21 Staying behind ( a moth of peace ) 18
1 22 The professionals ( of great expedition and knowledge
in the ancient wars ) 18
1 23 The spectacle of war ( Enter Martius, bleeding, assaulted
by the enemy ) 19
1 24 War s victims ( We would have all such offenders so cut off) 21
1 25 Honour ( when honour s at the stake ) 22
1 26 Conflict in Shakespeare s plays ( conflicting elements ) 23
Exercises 24
CONTENTS v
2 Who s who 25
2 1 Shakespeare s varied characters ( which oft our stage
hath seen ) 25
2 2 Common humanity ( the common people ) 25
2 3 Playing a role ( A stage where every man must play a part ) 26
2 4 Class divisions ( high birth ) 26
2 5 Kings in Shakespeare ( here comes the King ) 27
2 6 Queens in Shakespeare ( poor Queen ) 29
2 7 Unscrupulous characters ( the murderous Machiavel ) 30
2 8 Families divided ( between the child and parent ) 31
2 9 Children divided ( brothers divided ) 32
2 10 Married couples ( my husband ) 33
2 11 Lovers and theatrical conventions ( sweet lovers ) 33
2 12 The beloved ( O mistress mine ) 34
2 13 Shakespeare s fools ( to play the fool ) 35
2 14 Strangers ( being a stranger in this city here ) 38
2 15 Characters and people ( a kind of character ) 38
2 16 Stock characters ( I must play the workman ) 39
2 17 Character and dramatic function ( their particular functions ) 41
2 18 Characters explaining themselves ( Tell me thy mind ) 42
2 19 Understanding Shakespeare s characters ( the mind s
construction ) 42
2 20 Characters and language ( my language ) 43
Exercises 44
3 What and where: stories, plots and worlds 45
3 1 Shakespeare s stories ( there is an old tale goes ) 45
3 2 The interest of stories ( your tale, sir, would cure deafness ) 45
3 3 Shakespeare s use of stories ( like an old tale ) 47
3 4 Stories and their themes ( here is every thing ) 47
3 5 Stories and plots ( the sequent issue ) 48
3 6 Aims and expectations ( I long to hear the story of your life ) 49
3 7 The movement of plots ( good plots ) 50
3 8 The form of Shakespeare s plots ( half to half) 50
3 9 How plots begin ( the true beginning of our end ) 51
3 10 How plots develop ( the middle centre ) 52
3 11 How plots end ( and there an end ) 53
3 12 The design of Shakespeare s plays ( like a mirror ) 56
3 13 Plots and sub-plots ( tell you another tale ) 57
3 14 A plot in action - The Merchant of Venice ( what the play
treats on ) 58
3 15 The world of each play ( it is a world to see ) 59
3 16 Different plays, different worlds ( countries different ) 60
Exercises 62
4 Words on stage 63
4 1 Watching plays ( played upon a stage ) 63
4 2 The stage and life ( All the world s a stage ) 63
4 3 The imagination of the audience ( Think, when we talk of
horses, that you see them ) 65
4 4 Language and action ( the meaning or moral of his signs
and tokens ) • 66
vi CONTENTS
4 5 The changing life of dramatic language ( whilst this play is
playing ) • 68
4 6 Prose and verse ( here follows prose ) ( you talk in blank
verse ) • 69
4 7 The uses of verse and prose ( words, life, and all ) 70
4 8 Shakespeare s verse ( full of noises/Sounds ) 71
4 9 Shakespeare s imagery ( painted imagery ) 73
4 10 Rhetoric in Shakespeare ( sweet smoke of rhetoric ) 75
4 11 Wordplay ( there s a double meaning in that ) 77
4 12 Dialogue and soliloquy (tis time to speak ) 79
4 13 The unity and variety of Shakespeare s plays ( it is so
varied too ) 81
4 14 Shakespeare s theatre ( this cock-pit ) 83
Exercises 85
PART II THE COMEDIES
Comedy 89
5 1 Popular ideas of comedy ( a pleasant comedy ) 89
5 2 Shakespeare and the nature of comedy ( have made our
sport a comedy ) 89
5 3 Comic plotting ( ruminated, plotted and set down ) 90
5 4 How comedies begin ( I will tell you the beginning ) 90
5 5 Comedy and love ( and I begin to love ) 91
5 6 Bars and impediments ( if there be any impediment ) 92
5 7 Practices and devices ( in practice let us put it ) 93
5 8 Practisers and practising ( I will practise ) 94
5 9 Common practices ( this is an old device ) 95
5 10 Disguise ( assume thy part in some disguise ) 96
5 11 Cross-dressing ( suit me all points like a man ) 98
5 12 The problems of disguise ( Disguise I see thou art a
wickedness ) 99
5 13 Mistaken identity ( You throw a strange regard upon me ) 99
5 14 Overhearing ( I will hide me ) 100
5 15 Advantage and knowledge ( And watch our vantage in this
business ) 101
5 16 How comedy affects characters ( I do feel it, and see t ) 102
5 17 How comedies end ( a happy evening! ) 103
5 18 The debate about comedy ( look you for any other issue? ) 104
Exercises 106
6 The Taming of the Shrew 107
6 1 Two different plots ( Proceed in practice ) 107
6 2 Kate and Petruchio ( what company is this? ) 108
6 3 The place of the Induction ( Well, we ll see t ) 110
6 4 Study and love ( Aristotle s checks ) 110
6 5 Is Kate tamed? (Tis a wonder, by your leave, to see her
tamed so ) I l l
6 6 The role of Bianca ( maid s mild behaviour and sobriety ) 114
Exercises 114
CONTENTS vii
7 A Midsummer Night s Dream 115
7 1 The elements of the plot ( write a ballad of this dream ) 115
7 2 Oberon and plotting ( here comes Oberon ) 116
7 3 Shakespeare s fairies ( and we fairies ) 117
7 4 The trials and joys of love ( The course of true love never
did run smooth ) 118
7 5 Theseus and the plot ( I will overbear your will ) 119
7 6 The mechanicals and the conventions of drama ( Hard
handed men that work in Athens here ) 120
Exercises 122
8 The Merchant of Venice 123
8 1 Antonio s sadness ( And mine a sad one ) 123
8 2 Antonio s love (To suffer with a quietness of spirit ) 123
8 3 Venice ( Like signors or rich burghers ) 125
8 4 Portia, wealth and wooing ( a lady richly left ) 126
8 5 The spirit of enterprise ( had I such venture forth ) 126
8 6 Religion and love ( Become a Christian and thy loving wife ) 127
8 7 The centrality of Shylock ( I am a Jew ) 127
8 8 Portia and the outcome of the plot ( O sweet Portia ) 129
Exercises 131
9 Much Ado About Nothing 132
9 1 Plot, amazement and comedy ( All this amazement ) 132
9 2 The doubling of characters ( a double heart ) 132
9 3 Characterisation ( So you walk softly, and look sweetly, and
say nothing ) 133
9 4 The distinctiveness of Beatrice and Benedick ( Beatrice and
Benedick ) 134
9 5 Wooing, art and the plot ( so fine a story ) 135
9 6 Cupid and practising ( for we are the only love-gods ) 137
9 7 The limits of practising ( if peradventure this be true ) 137
9 8 Making mistakes ( some strange misprison in the princes ) 138
9 9 Art in the service of nature ( kind of merry war ) 139
9 10 The mood of the play ( Why, it must be requited ) 139
Exercises 140
10 As You Like It 141
10 1 The pastoral element ( Why, whither shall we go? ) 141
10 2 Father and daughter ( a banished father ) 142
10 3 Love ( what think you of falling in love? ) 142
10 4 The importance of Rosalind ( But heavenly Rosalind! ) 142
10 5 Orlando and speech ( What passion hangs these weights
upon my tongue? ) 144
10 6 Courtship and games ( Nay, you must call me Rosalind ) 144
10 7 Love and disguise ( You a lover? ) 145
10 8 The holiday mood ( for I am now in holiday humour ) 145
10 9 The character who doesn t fit in (The melancholy Jaques ) 146
Exercises 147
11 Twelfth Night 148
11 1 How the plot starts ( What country, friends, is this? ) 148
11 2 Music, harmony and discord ( for I can sing ) 149
viii CONTENTS
11 3 The problem of gender and identity ( good Cesario ) 150
11 4 The place of Malvolio ( The madly-used Malvolio ) 150
11 5 Madness, revelry and folly ( sad and merry madness ) 151
11 6 Class ( she ll not match above her degree ) 152
11 7 The character of Feste (Feste the jester ) 153
11 8 The passing of time ( We did keep time, sir, in our catches ) 154
Exercises 156
PART III THE PROBLEM PLAYS
12 Shakespeare experimenting 159
12 1 The problems of the problem plays ( all difficulties ) 159
12 2 The problem plays as comedies ( All is well ended ) 159
12 3 The dark mood ( muddied in fortune s mood ) 160
12 4 Experimenting with comedy ( give me leave to try success ) 161
12 5 Drama and thought ( fine issues ) 163
Exercises 163
13 troilus and Cressida 164
13 1 No beginning, no end ( Beginning in the middle ) 164
13 2 Cultural icons ( Let all constant men be Troiluses ) 164
13 3 The most interesting character ( O Cressida ) 165
13 4 Love and the language of war ( In that I ll war with you ) 167
13 5 Where are the heroes? ( proud of an heroical cudgelling ) 168
13 6 Relativism, viewpoints and framing ( What s aught but as
tis valued ) 169
Exercises 171
14 Measure for Measure 172
14 1 Governing a nation and governing oneself ( Of government ) 172
14 2 The character and role of Angelo ( Lord Angelo ) 173
14 3 The character and role of Isabella ( heaven give thee moving
graces ) 175
14 4 The play s title ( measure still for measure ) 177
14 5 Different attitudes to death ( Be absolute for death ) 177
14 6 The bed-trick ( And perform an old contracting ) 178
Exercises 179
PART IV THE LATE COMEDIES
15 The worlds of the late comedies 183
15 1 The last plays ( to hear an old man sing ) 183
15 2 Features of the late comedies ( a song that old was sung ) 183
15 3 The elements of the plots ( Like an old tale still ) 184
15 4 Reconciliation ( look upon my brother ) 185
15 5 Young girls (The fairest I have yet beheld ) 185
15 6 Natural imagery ( Welcome hither/As is the spring to th
earth ) 186
15 7 Art and thought ( mine art ) 187
Exercises 189
CONTENTS ix
16 The Winter s Tale 190
16 1 The shape of the plot ( Thou metst with things dying I with
things new-born ) 190
16 2 Understanding Leontes madness ( It is a bawdy planet that
will strike ) 191
16 3 The functions of Camillo and Paulina ( good Camillo ) 192
16 4 Hermione s character ( Hermione, Queen to the worthy
Leontes ) 193
16 5 Hermione s trial and death ( accused and arraigned of high
treason ) 193
16 6 How not to repent ( Apollo, pardon ) 194
16 7 The pivotal scene ( if thou lt see a thing to talk on when
thou art dead and rotten ) 195
16 8 Autolycus and Bohemia ( When daffodils begin to peer ) 195
16 9 The significance of the sheep-shearing scene (This your
sheep-shearing ) 196
16 10 Nature, art and Perdita ( great creating nature ) 197
Exercises 199
17 The Tempest 200
17 1 The Tempest and interpretation ( know thine own meaning ) 200
17 2 Politics in The Tempest ( You did supplant your brother
Prospero ) 201
17 3 Colonialism ( Which first was mine own king ) 201
17 4 The importance of Caliban ( some monster of the isle ) 202
17 5 Prospero s island ( the isle ) 203
17 6 Issues about Ariel ( my industrious servant Ariel ) 204
17 7 Understanding Prospero ( Prospero, master of a full
poor cell ) 205
17 8 The masque ( such another trick ) 206
17 9 Wonder in The Tempest ( O you wonder ) 207
17 10 Revenge or reconciliation ( the rarer action ) 207
17 11 How The Tempest ends ( Please you, draw near ) 209
Exercises 210
PARTV THE TRAGEDIES
18 Tragedy 213
18 1 The problems of definition ( define, define ) 213
18 2 The vast world of tragedy ( for the world is broad and wide ) 213
18 3 Unavoidable death ( Keeps death his court ) 214
18 4 Division and tragedy ( these divisions ) 215
18 5 Order and tragedy ( by degree stand in authentic place ) 215
18 6 Suffering and tragedy ( the rack of this tough world ) 217
18 7 Heroic figures ( outstretched heroes ) 217
18 8 Tragedy, morality and ambivalence ( I was born to set it right ) 218
18 9 Hubris and bravado (This is I ) 219
18 10 Tragic self-presentation ( actions that a man might play ) 220
18 11 Fortune and tragedy ( O, I am fortune s fool ) 221
18 12 The tragic fall ( fall to the base earth ) 222
18 13 Isolation and inevitability ( The way to dusty death ) 223
18 14 Horror and pity ( Howl, howl, howl, howl ) 224
Exercises 225
x CONTENTS
19 Romeo and Juliet 226
19 1 Youth and passion ( never was a story of more woe ) 226
19 2 The comic elements ( And if thou dar st, I ll give thee
remedy ) 227
19 3 Verona divided (The quarrel is between our masters and
us their men ) 227
19 4 Tybalt and hatred ( the fiery Tybalt ) 227
19 5 The Nurse ( these sorrows make me old ) 228
19 6 Mercutio and language ( thou talk st of nothing ) 228
19 7 The love scenes ( my heart s dear love ) 229
19 8 Coping with banishment ( I must be gone and live, or stay
and die ) 232
19 9 Love and death ( Here in the dark to be his paramour ) 232
19 10 Their tragedy ( now at once run on/The dashing rocks ) 233
Exercises 234
20 Hamlet 235
20 1 Asking questions ( Who s there? ) 235
20 2 The place of politics ( this post-haste and rummage in the
land ) 236
20 3 Death and Hamlet ( hearsed in death ) 236
20 4 How the plot works ( if the king like not the comedy ) 237
20 5 Hamlet the thinker ( Now I am alone ) 238
20 6 Hamlet and revenge ( revenge his foul and most unnatural
murder ) 240
20 7 Remembering and forgetting ( It is, Adieu, adieu,
remember me ) 241
20 8 Ophelia s plight ( The fair Ophelia ) 241
20 9 The passions and Hamlet ( passion s slave ) 242
20 10 Plays, players and playing ( Madam, how like you this play? ) 244
20 11 Deciding about Hamlet ( Good night, sweet prince ) 245
20 12 Stories in the play (To tell my story ) 246
Exercises 247
21 Othello 248
21 1 The response of the audience (The object poisons sight ) 248
21 2 Gulling ( Thus do I ever make my fool my purse ) 249
21 3 Iago, honesty and trust ( Honest Iago ) 250
21 4 Iago and motive ( Demand me nothing ) 252
21 5 The image of chaos ( Chaos is come again ) 253
21 6 Othello, stories and wonder ( the story of my life ) 253
21 7 The temptation scene ( My lord, you know I love you ) 255
21 8 Othello s language ( I think this tale would win my daughter,
too ) 257
21 9 Othello s tragic status ( It is the cause ) 258
21 10 His final speech ( a word or two before you go ) 258
21 11 The question of themes ( What is the matter? ) 259
Exercises 260
22 King Lear 261
22 1 Themes, characters and drama ( This great world ) 261
22 2 Different kinds of division ( the division of the kingdom ) 262
CONTENTS xi
22 3 Cordelia, love and sacrifice ( Thy youngest daughter does
not love thee least ) 263
22 4 Lear and hatred (To match you where I hate ) 264
22 5 The two plots ( there s father against child ) 264
22 6 Seeing and blindness ( See better, Lear ) 265
22 7 Edgar and Edmund ( Brother, I say ) 265
22 8 The different meanings of Nature ( Thou, nature, art my
goddess ) 267
22 9 Dover Cliff ( Come on, sir, here s the place ) 270
22 10 Love, measurement and suffering ( what can you say to
draw/A third more opulent ) 271
22 11 Making sense of the end ( Is this the promised end? ) 272
Exercises 273
23 Macbeth 274
23 1 The atmosphere of the play ( As thick as hail/Came post
with post ) 274
23 2 The weird sisters ( Fair is foul ) 275
23 3 Macbeth and death ( Strange images of death ) 276
23 4 Horror, poetry and goodness ( horrible imaginings ) 277
23 5 The Macbeths language ( Come, thick night ) 279
23 6 Why Macbeth kills the king ( if it were done ) 279
23 7 Guilt (These deeds must not be thought/After these ways ) 281
23 8 Discovery and the banquet scene ( What sights, my lord ) 282
23 9 Macbeth s suffering (Tomorrow, and tomorrow, and
tomorrow ) 283
23 10 A heroic death ( I will not yield ) 284
23 11 More and less than a man ( I dare do all that may become
a man ) 285
Exercises 286
PART VI THE ROMAN TRAGEDIES
24 Shakespeare s Roman World 289
24 1 The city of Rome ( the Roman state ) 289
24 2 Politics and the individual ( our great competitor ) 289
24 3 Roles in a changing state ( deed-achieving honour newly
named ) 290
24 4 Morality and honour ( the honourable men ) 291
24 5 The secular quality ( if Jupiter/Should from yon cloud speak
divine things ) 291
24 6 The code of suicide ( the high Roman fashion ) 292
24 7 The importance of ideas ( a Roman thought ) 292
25 Coriolanus 294
25 1 Mother and son ( he did it to please his mother) 294
25 2 Coriolanus at war ( the Volsces are in arms ) 296
25 3 War and heroes ( this war s garland ) 298
25 4 Heroes and politics ( I had rather be their servant ) 299
25 5 The instability of power ( how soon confusion/May enter ) 301
25 6 Coriolanus and Aufidias ( Do they still fly to th Roman ) 301
25 7 Women and victory ( You have won a happy victory in Rome ) 302
Exercises 303
xii CONTENTS
26 Julius Caesar 304
26 1 Caesar, Brutus and tragedy ( O mighty Caesar! Dost thou
lie so low? ) 304
26 2 Caesar: for and against ( the noble Caesar ) 305
26 3 Cassius and the plot ( that spare Cassius ) 306
26 4 Difficulties with Brutus ( the noblest Roman of them all ) 307
26 5 Antony s change ( a masquer and a reveller ) 309
26 6 Antony and the people ( Friends, Romans, countrymen ) 312
26 7 The morality of assassination (These many, then, shall die ) 313
Exercises 314
27 Antony and Cleopatra 315
27 1 Action and reaction ( Here is my space ) 315
27 2 Antony s status (The demi-Atlas of this earth ) 315
27 3 Love and adultery ( new heaven, new earth ) 316
27 4 Love and war ( What Venus did with Mars ) 317
27 5 Rome ( Octavia is of a holy, cold, and still conversation ) 318
27 6 Antony and failure ( near him thy angel/Becomes afeard ) 320
27 7 Cleopatra s roles ( Royal Egypt, Empress ) 320
27 8 Folly and suicide ( The long day s task is done ) 322
27 9 The magnificence of Cleopatra ( Give me my robe ) 324
Exercises 325
PART VII THE HISTORIES
28 Shakespeare s English history 329
28 1 England in the history plays ( this realm, this England ) 329
28 2 The past, the future, and continuity ( there is a history in
all men s lives ) 331
28 3 The pressures of power ( the image of his power ) 332
28 4 The power of kings ( the mortal temples of a king ) 334
28 5 The characters ( all in England ) 336
28 6 What is a history play? ( on the French ground played a
tragedy ) 337
28 7 History and plots ( they do plot/Unlikely wonders ) 338
Exercises 339
29 Richard II 340
29 1 The start of the history cycle ( And future ages groan for
this foul act ) 340
29 2 Ritual and ceremony ( And formally, according to our law ) 340
29 3 Richard s guilt ( he did plot the Duke of Gloucester s death ) 341
29 4 The wayward king ( Richard my life s counsel would not hear ) 341
29 5 Language in the play ( Look what I speak, my life shall
prove it true ) 342
29 6 Rebellion ( If then we shall shake off our slavish yoke ) 345
29 7 The fall of Richard ( No matter where ) 345
29 8 The deposition scene ( for I must nothing be ) 346
29 9 Richard s final soliloquy ( Yet I ll hammer it out ) 349
Exercises 350
CONTENTS xiii
30 lHenrylV 351
30 1 New king, old troubles ( So shaken as we are ) ; 351
30 2 Falstaff and the Henry IV plays ( little better than one of
the wicked ) 351
30 3 The comic elements ( What trick, what device ) 353
30 4 Hal s soliloquy (Til so offend to make offence a skill ) 354
30 5 Hotspur and honour (To pluck bright honour ) 355
30 6 Fathers and sons ( I ll play my father ) 357
30 7 The rebels ( our induction full of prosperous hope ) 357
30 8 Civil war ( We ll fight with him tonight ) 358
Exercises 359
31 2 Henry W 360
31 1 Rumour in a changing world (The sum of all/Is that the
King hath won ) 360
31 2 The new rebels ( Let order die! ) 360
31 3 Time and growing old ( We are time s subjects ) 361
31 4 The troubled king ( Uneasy lies the head that wears the
crown ) 362
31 5 Father, son and crown ( Why doth the crown lie there upon
his pillow ) 363
31 6 The new king ( This new and gorgeous garment, majesty ) 365
31 7 The rejection of Falstaff ( I know thee not, old man ) 365
Exercises 366
32 Henry V 367
32 1 The Chorus and the stage ( Admit me chorus to this history ) 367
32 2 The morality of making war ( May I with right and
conscience make this claim? ) 368
32 3 Treachery ( you would have sold your King to slaughter ) 368
32 4 Falstaff s death ( He s in Arthur s bosom ) 369
32 5 The invasion of France (Thus comes the English ) 369
32 6 The siege of Harfleur ( Holding due course to Harfleur ) 370
32 7 Disguise and the eve of the battle ( behold/The royal
captain of this ruined band ) 372
32 8 The battle of Agincourt (Then call we this the field of
Agincourt ) 374
32 9 France, love and peace ( Our fertile France ) 376
32 10 What do we make of Henry? ( This star of England ) 376
Exercises 376
33 Richard III 377
33 1 The dominance of Richard ( Famous Plantagenet ) 377
33 2 The fun of scheming ( Plots have I laid ) 377
33 3 Richard the role-player ( canst thou quake and change thy
colour ) 378
33 4 Richard s enemies ( That foul defacer of God s handiwork ) 380
33 5 Movement and inactivity ( Set down, set down ) 381
33 6 The princes in the Tower (The tyrannous and bloody act ) 381
33 7 Evil and sufferings ( And turns the sun to shade ) 382
xiv CONTENTS
33 8 England reconciled ( We will unite the white rose and the red ) 383
33 9 Richard and the stage (The bloody dog is dead ) 384
Exercises 384
Glossary 385
Further reading 392
Index of plays 393
General index 394
CONTENTS xv
|
| any_adam_object | 1 |
| author | Gill, Richard |
| author_facet | Gill, Richard |
| author_role | aut |
| author_sort | Gill, Richard |
| author_variant | r g rg |
| building | Verbundindex |
| bvnumber | BV012161185 |
| classification_rvk | HI 3390 |
| ctrlnum | (OCoLC)477010715 (DE-599)BVBBV012161185 |
| discipline | Anglistik / Amerikanistik |
| edition | 1. publ. |
| format | Book |
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| id | DE-604.BV012161185 |
| illustrated | Illustrated |
| indexdate | 2024-07-09T18:22:45Z |
| institution | BVB |
| isbn | 0333698738 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-008237860 |
| oclc_num | 477010715 |
| open_access_boolean | |
| owner | DE-703 DE-19 DE-BY-UBM |
| owner_facet | DE-703 DE-19 DE-BY-UBM |
| physical | XVIII, 398 S. Ill. |
| publishDate | 1998 |
| publishDateSearch | 1998 |
| publishDateSort | 1998 |
| publisher | Macmillan |
| record_format | marc |
| series2 | Macmillan master series |
| spelling | Gill, Richard Verfasser aut Mastering Shakespeare Richard Gill 1. publ. Basingstoke [u.a.] Macmillan 1998 XVIII, 398 S. Ill. txt rdacontent n rdamedia nc rdacarrier Macmillan master series Shakespeare, William Shakespeare, William 1564-1616 (DE-588)118613723 gnd rswk-swf Drama (DE-588)4012899-4 gnd rswk-swf Shakespeare, William 1564-1616 (DE-588)118613723 p Drama (DE-588)4012899-4 s DE-604 HEBIS Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=008237860&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Gill, Richard Mastering Shakespeare Shakespeare, William Shakespeare, William 1564-1616 (DE-588)118613723 gnd Drama (DE-588)4012899-4 gnd |
| subject_GND | (DE-588)118613723 (DE-588)4012899-4 |
| title | Mastering Shakespeare |
| title_auth | Mastering Shakespeare |
| title_exact_search | Mastering Shakespeare |
| title_full | Mastering Shakespeare Richard Gill |
| title_fullStr | Mastering Shakespeare Richard Gill |
| title_full_unstemmed | Mastering Shakespeare Richard Gill |
| title_short | Mastering Shakespeare |
| title_sort | mastering shakespeare |
| topic | Shakespeare, William Shakespeare, William 1564-1616 (DE-588)118613723 gnd Drama (DE-588)4012899-4 gnd |
| topic_facet | Shakespeare, William Shakespeare, William 1564-1616 Drama |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=008237860&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
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