CLIFFORD LEECH – författare

First Published in 1969. Routledge is an imprint of Taylor amp Francis, an informa company.

Professor Leech considers the significance of the term ‘Tragedy’ as it has been used from classical times to the present day. He gives examples of tragic writing from a wide variety of dramatic literatures and relates theoretical writings on tragedy and the tragedies that have been contemporaneous with them. Free reference is made to critics from Aristotle to these of the present. Special stress is laid on the tragedies of the Greeks, of Renaissance writers and of our immediate contemporaries, notably Harold Pinter and Tom Stoppard. There is also discussion of tragic writing in the modern novel.

This work provides a comprehensive account of drama written and performed in English from its roots in the medieval mystery plays to the progress of drama in Britain and America since 1945. The volumes, which are arranged chronologically, critically examine the drama, playwrights, actors and audiences of each period in their social and historical context.Key themes in The Revels History of Drama include:* the changing attitudes of audiences and public taste* the developing roles of actors, managers and directors* the evolution of acting stylesEach volume contains:* a chronological table containing historical, theatrical and other literary events* illustrations from contemporary sources* a substantial bibliography.

Professor Leech considers the significance of the term ‘Tragedy’ as it has been used from classical times to the present day. He gives examples of tragic writing from a wide variety of dramatic literatures and relates theoretical writings on tragedy and the tragedies that have been contemporaneous with them. Free reference is made to critics from Aristotle to these of the present. Special stress is laid on the tragedies of the Greeks, of Renaissance writers and of our immediate contemporaries, notably Harold Pinter and Tom Stoppard. There is also discussion of tragic writing in the modern novel.

First published in 1969, this work examines the genre of Tragedy from its origins in ancient Greece, to the modern day. Beginning with an overview of the meaning of tragedy in Europe through the ages, it goes on to explore common aspects of tragedies such as the tragic hero, the chorus and unities, catharsis, peripeteia, anagnorisis and suffering. This book will be of interest to anyone studying European drama and literature.

First published in 1969, this work examines the genre of Tragedy from its origins in ancient Greece, to the modern day. Beginning with an overview of the meaning of tragedy in Europe through the ages, it goes on to explore common aspects of tragedies such as the tragic hero, the chorus and unities, catharsis, peripeteia, anagnorisis and suffering. This book will be of interest to anyone studying European drama and literature.

Leading Shakespeare scholars from around the world gathered at the First World Shakespeare Congress held in Vancouver in August 1971. This volume presents a carefully selected edition of twenty of the papers presented at the Congress, including all available papers in the plenary sessions, a few of the pecial sessions papers, 'an address at a banquet,' and the reports of the chairmen of the Investigative Committees. The contributors focus on eight general themes: C. Walter Hodges and Herbert Berry on the Elizabethan playhouse; M.C. Bradbrook, Charlton Hinman, and Fredson Bowers on text and canon; Jonas A. Barish and G.R. Hibbard on verse and prose; Norman Rabkin on critical approaches to Shakespeare; David Bevington and Wolfgang Clemen on Shakespeare and his Elizabethan contemporaries; H.D.F. Kitto and Michel Grivelet on Shakespeare and the dramatists of other ages; Jean Jacquiot and R.W. Ingram on Shakespeare and other arts, and Grigori Kozintsev and Bernard Beckerman on Shakespeare in theatre and film in the twentieth century. Three papers presented at special sessions are included: Jill Levenson on the silences in King Lear; Robert Wrimann on Shakespeare's wordplay; and John C. Meagher on editorial annotation in relation to a few problems in King Lear.  The high level of scholarship and remarkable diversity of approach in Shakespeare studies are clearly demonstrated in this collection.