Standaard Boekhandel gebruikt cookies en gelijkaardige technologieën om de website goed te laten werken en je een betere surfervaring te bezorgen.
Hieronder kan je kiezen welke cookies je wilt inschakelen:
Technische en functionele cookies
Deze cookies zijn essentieel om de website goed te laten functioneren, en laten je toe om bijvoorbeeld in te loggen. Je kan deze cookies niet uitschakelen.
Analytische cookies
Deze cookies verzamelen anonieme informatie over het gebruik van onze website. Op die manier kunnen we de website beter afstemmen op de behoeften van de gebruikers.
Marketingcookies
Deze cookies delen je gedrag op onze website met externe partijen, zodat je op externe platformen relevantere advertenties van Standaard Boekhandel te zien krijgt.
Je kan maximaal 250 producten tegelijk aan je winkelmandje toevoegen. Verwijdere enkele producten uit je winkelmandje, of splits je bestelling op in meerdere bestellingen.
How did plays from the popular theatre, written by an author better known as a poet, become the greatest literary monument in English? Renowned Shakespearean Stephen Orgel reveals how the transformation of Shakespeare's scripts was a triumph of both editorial intervention and marketing. By no means the most admired playwright of his time, Shakespeare's most popular work during his lifetime and for decades afterwards was the long poem Venus and Adonis, first published in 1593. It wasn't until 1598 that Shakespeare's name appeared on the title page of a book, so how did Shakespeare's plays become the benchmark of English Renaissance drama? By examining the process of transformation from performance script to published book Orgel provides an accessible story of the making of Shakespeare's reputation in print and of how the publication of his plays in a grand folio in 1623 made a radical claim for his plays as literature, in effect declaring his plays modern classics.
With chapters on the poems, Romeo and Juliet, Hamlet, King Lear, Pericles and Macbeth, this book offers a number of case studies illustrating a variety of problems of dealing with the quartos, as well as how different a 'good' text of a play was for Shakespeare's readers and for modern scholars. It closes with an account of the production of the first folio, which, with the precedent of the Ben Jonson folio of 1616, effectively conferred classic status on this popular contemporary dramatist.