David Grote – författare

Shakespeare knew actors because he was one. The first book-length study of its kind, this volume investigates Shakespeare as a member of his acting company, dating and casting all the plays they presented from 1594 to 1614, and exploring the effects of actors on his writing. Much has been written about Shakespeare and a great deal is known about the Elizabethan theater. Yet little has been done to examine Shakespeare in relation to his acting company. This book casts light on Shakespeare's life in drama and the creation and staging of his plays. More precisely than any other work, it establishes the dates for his company's productions, exploring the varied and profound influences actors had on the works of Renaissance dramatists, and giving us a unique look at the man who knew his actors best of all.As a member of the newly organized Chamberlain's Men, a company that rose to fame in the London theater, Shakespeare experienced the numerous crises, both personal and political, that nearly destroyed the company at the construction of the Globe. Grote describes the company's reorganization as the King's Men, which led to the writing of Shakespeare's great tragedies, as well as the trials of the plague years, Shakespeare's retirement from the stage, the development of writers to replace him, and the burning of the Globe.

An aptly titled book that presents, from a staggering range of fields (e.g., mythology, religion, literature, history), names that `reasonably well-educated persons might be expected to know.' . . . Included are figures who are common subjects or who have made their way into catch phrases or character types (e.g., Lothario). A good source for home or public libraries.' Choice In his introduction, compiler Grote apologizes `to the Dickensians, the Janeites, the Proustians, the Holmesians, and the Shakesperians' for the brevity of his entries, sure to disappoint these die-hard fans of a single author. He need not, however, apologize to the general readers for whom his book is intended as a source for learning the significance of more than 4,000 names they might encounter. They are the names of historical persons, biblical personages, and mythical and literary characters. The entries are brief but adequately explain the person's origins in fact or literature. Wilson Library BulletinThis guide to common literary allusions is designed as a companion volume for the general reader. Grote has assembled the fundamental names in mythology, literature, religion, history, and popular culture as a reference for understanding their use in most general literature. The names included are those most likely to be encountered by the general reader, such as melancholy as Hamlet, or Phoenix-like. The entries are drawn primarily from literature, the Bible, and Greek and Roman mythology; a number of historical figures and names of significant historical events have also been included.

How does a vicar differ from a rector? Is a marquis a lord? Where are the Home Counties? Is someone who is dead chuffed happy or angry? Americans reading British literature, come upon such unfamiliar terms and generally have to rely on contextual clues. For the legions of readers of Dickens and Trollope, of Agatha Christie, John LeCarre, and P.D. James, of Muriel Spark and Iris Murdoch, of Noel Coward and Tom Stoppard--to name a few--as well as viewers of British film and television imports, this helpful and entertaining guide defines the kinds of things that British authors thought needed no explanation.Part dictionary, part guidebook, part almanac, part gazetter, part history, part sociology, this lexicon has no specialty, for it deals with British culture in general. David Grote's guiding principle was to select terminology with the potential to confuse readers who know only American English. Consequently, the volume is organized as a dictionary, with entries for concepts, items, and names that might create confusion. Entries are arranged alphabetically, from ten basic categories: (1) titles, ranks, and honours; (2) widely used words not part of the typical American vocabulary; (3) words used differently in America and Britain; (4) customs, terminology, and activities of daily life not shared by Americans; (5) governmental organizations; (6) political and legal customs and methods; (7) communities, and places often used in literary works; (8) foods and common commercial products; (9) common animals and plants not found in the same form in America; and (10) basic social practices that differ considerably from modern American practice. Ideally kept on hand for ready referral when immersed in fictional Britain, this dictionary will make for many enjoyable hours of random or systematic browsing. A true companion to British literature, its concern is not authors and literary history, but the slang, bureaucracy, stereotypes of places, food and products used in daily life, social organization, and hundreds of such homespun items.

Shakespeare knew actors because he was one. The first book-length study of its kind, this volume investigates Shakespeare as a member of his acting company, dating and casting all the plays they presented from 1594 to 1614, and exploring the effects of actors on his writing. Much has been written about Shakespeare and a great deal is known about the Elizabethan theater. Yet little has been done to examine Shakespeare in relation to his acting company. This book casts light on Shakespeare's life in drama and the creation and staging of his plays. More precisely than any other work, it establishes the dates for his company's productions, exploring the varied and profound influences actors had on the works of Renaissance dramatists, and giving us a unique look at the man who knew his actors best of all.As a member of the newly organized Chamberlain's Men, a company that rose to fame in the London theater, Shakespeare experienced the numerous crises, both personal and political, that nearly destroyed the company at the construction of the Globe. Grote describes the company's reorganization as the King's Men, which led to the writing of Shakespeare's great tragedies, as well as the trials of the plague years, Shakespeare's retirement from the stage, the development of writers to replace him, and the burning of the Globe.