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The Norton Shakespeare: Tragedies: Based on the Oxford Edition Paperback – Mar 1 2008


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Product Details

  • Paperback: 1168 pages
  • Publisher: W W Norton & Co Inc (Np); 2 Pap/Psc edition (March 1 2008)
  • Language: English
  • ISBN-10: 0393931404
  • ISBN-13: 978-0393931402
  • Product Dimensions: 1.5 x 0.3 x 2.3 cm
  • Shipping Weight: 962 g
  • Amazon Bestsellers Rank: #436,170 in Books (See Top 100 in Books)

Product Description

About the Author

Stephen Greenblatt (Ph.D. Yale) is Cogan University Professor of the Humanities at Harvard University. Also General Editor of The Norton Anthology of English Literature, he is the author of eleven books, including The Swerve: How the World Became Modern (winner of the 2011 National Book Award and the 2012 Pulitzer Prize); Shakespeare's Freedom; Will in the World: How Shakespeare Became Shakespeare; Hamlet in Purgatory; Marvelous Possessions: The Wonder of the New World; Learning to Curse: Essays in Early Modern Culture; and Renaissance Self-Fashioning: From More to Shakespeare. He has edited seven collections of criticism, including Cultural Mobility: A Manifesto, and is a founding coeditor of the journal Representations. His honors include the MLA's James Russell Lowell Prize, for both Shakespearean Negotiations: The Circulation of Social Energy in Renaissance England and The Swerve, the Sapegno Prize, the Distinguished Humanist Award from the Mellon Foundation, the Wilbur Cross Medal from the Yale University Graduate School, the William Shakespeare Award for Classical Theatre, the Erasmus Institute Prize, two Guggenheim Fellowships, and the Distinguished Teaching Award from the University of California, Berkeley. He was president of the Modern Language Association of America and is a fellow of the American Academy of Arts and Sciences, the American Philosophical Society, and the American Academy of Arts and Letters. Walter Cohen (Ph.D. Berkeley) is Professor of English at the University of Michigan, Ann Arbor, and Professor of Comparative Literature Emeritus at Cornell University, where he received the Clark Distinguished Teaching Award. He is the author of Drama of a Nation: Public Theater in Renaissance England and Spain, as well as numerous journal articles on Renaissance literature, literary criticism, the history of the novel, and world literature. He has recently completed a critical study entitled A History of European Literature: The West and the World from Antiquity to the Present. Jean E. Howard (Ph.D., Yale) is the George Delacorte Professor in the Humanities at Columbia University. A past president of the Shakespeare Association of America, she is the author of numerous books on Renaissance drama, including Shakespeare's Art of Orchestration: Stage Technique and Audience Response (1984), The Stage and Social Struggle (1994), Engendering a Nation: A Feminist Account of Shakespeare's English Histories, with Phyllis Rackin (1997), Theater of a City: The Places of London Comedy 1598-1642 (2007), and Marx and Shakespeare with Crystal Bartolovich (2012). She is at work on a book about the English history play from Shakespeare to Caryl Churchill and another on the invention of Renaissance tragedy. Katharine Eisaman Maus (Ph.D. Johns Hopkins) is James Branch Cabell Professor of English at the University of Virginia. She is the author of Being and Having in Shakespeare; Inwardness and Theater in the English Renaissance; and Ben Jonson and the Roman Frame of Mind; editor of a volume of Renaissance tragedies; and coeditor of English Renaissance Drama: A Norton Anthology, The Norton Anthology of English Literature, and a collection of criticism on seventeenth-century English poetry. She has been awarded Guggenheim, Leverhulme, NEH, and ACLS fellowships, and the Roland Bainton Prize for Inwardness and Theater.

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Amazon.com: 10 reviews
14 of 16 people found the following review helpful
Convenient Nov. 4 2009
By J. N. Goslee - Published on Amazon.com
Format: Paperback Verified Purchase
I'm taking a shakespeare class, and bringing one of these books to class is much more convenient than carrying the giant onionskin all in one version.

The page numbers are of course different, but the pages are laid out exactly the same and contains the same introductory material as the one book version.

Definitely worth the extra 15 dollars this version cost, and it looks prettier on my bookshelf.
4 of 4 people found the following review helpful
almost great June 3 2012
By S. Williams - Published on Amazon.com
Format: Paperback Verified Purchase
My review reports a change from the standard text of Taming of the Shrew and I would be interested in knowing if such a discrepancy is present in the First Edition of Norton's Collected Works of Shakespeare (in any of the various methods of volume divisions).

I have been comparing the versions of Pelican, Bevington, Greenblatt(Norton, 2nd Ed) and the "No Fear" texts for the comedies. I have read through Taming of the Shrew and would say Norton provides the best explanations of terms and ideas difficult for those not familiar with the vernacular of Shakespeare's plays. However, where the Norton edition lacks is in a tendency to occasionally change words from the standard text, either due to using the "Oxford Edition" or perhaps an attempt to clarify. However, just as the paraphrasing of "No Fear" obliterates Shakespeare's plays on words as it generally clarifies (although the original text remains parallel to it), the same appears to be the case in very limited cases for the Norton edition. I have read of peculiar liberties being taken for the sake of clarity in other Norton editions, such as Paradise Lost. The example I am thinking about for Taming of the Shrew occurs in the beginning of the play:

Bevington, Pelican & No Fear:
Hostess: I know my remedy. I must go fetch the thirdborough.
Sly: Third, or fourth, or fifth burough, I'll answer him by the law.

Norton:
Hostess: I know my remedy. I must go fetch the headborough.
Sly: Third, or fourth, or fifth burough, I'll answer him by the law.

Headburough just seems wrong here and even if it has better evidence (does it?), or is better for students, I think a note in the text of Norton to the standard text used by Bevington, Pelican and No Fear should be included in such an extreme instance.

Although such instances are probably rare, I would suggest for the enthusiast who want a collected works version to try to read one of the other texts along with Norton's to take advantage of the better glosses of Norton, but also avoid missing word-play or other such features of the standard texts.

Now, to Norton's credit, it was the only version to include the "questionable" (and so-labeled in the book) additions of more dialogue by Sly, the Lord & company, including additional ending material, which wraps up the story of Sly whereas the standard text leaves the reader hanging after Act 1, Scene 1.
4 of 4 people found the following review helpful
Light, But Not Durable Jan. 14 2013
By Jane - Published on Amazon.com
Format: Paperback Verified Purchase
The benefit of the paperback is it's lighter, which is nice. Especially when hauling it to class every day. But the pages are so thin that if you want to make notes on them, they show through on the other side and mangle the paper. The pages are also easily torn when flipping through.
1 of 2 people found the following review helpful
Great read! Aug. 21 2012
By missvix - Published on Amazon.com
Format: Paperback Verified Purchase
I ordered this book for school. It was easy and fun to read. A great compilation of Shakespeare's works. Also, at the beginning of each work is a sort of intro, giving a bit of background about the proceeding work.
0 of 1 people found the following review helpful
I bought this book because I am currently taking a ... Nov. 1 2014
By Amazon Customer - Published on Amazon.com
Format: Paperback Verified Purchase
I bought this book because I am currently taking a Shakespeare class. We have also used volume 1 in the class. The footnotes are very helpful and the introduction before each play is very clearly written.


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