Michael Neill – författare

In its towering central characters, vast geographical and historical sweep, and its variety of style and mood, Anthony and Cleopatra is perhaps the most ambitious of Shakespeare's designs. Yet the degree and nature of its success remain surprisingly contentious, and performances of the play have seldom matched the extravagant expectations of its admirers. Michael Neill's wide-ranging introduction from a number of angles, including those of gender and race. He examines the sources and discusses the theatrical challenge presented by Shakespeare's technique, with its extraordinary tensions between rhetoric and action. A full stage history further illustrates its theatrical fortunes; both here and in the extensive commentary this edition illuminates the play's theatrical dimensions as well as the rich complexity of its poetic language. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

Written near the end of Shakespeare's most phenomenally creative period, Antony and Cleopatra is perhaps the most ambitious of all Shakespeare's designs, in its unmatched geographical and historial sweep, its bold mingling of genres, and its extraordinary variety of style, mood, and effect. Yet the degree and nature of its success remain surprisingly contentious, and performances of the play have seldom matched the extravagant expectations of its admirers.The wideranging introduction to this new edition considers the paradoxes of the play's reception from a number of angles. A full discussion of Shakespeare's sources (the most important of which is excerpted in a generous appendix) considers ways in which these may have influenced the play's problematic design. A comprehensive stage history illustrates how the theatrical fortunes of Antony and Cleopatra continue to be affected by the inappropriate spectacular traditions of nineteenth-century staging, and by an enduring gender-inflected orientalism that has particularly distorted responses to the character of Cleopatra. A substantial critical section examines how the technique of the play - its deliberate frustrations of expectation, its carefully constructed tensions between rhetoric and action, and its daring exploitation of bathos and anti-climax - may have contributed to the sense of disappointment which colours so many accounts of performance. The editor argues that such effects are structural to the paradoxical vision of this tragedy and to its disturbed preoccupation with the unstable boundaries of gender and identity.The text has been freshly edited in accordance with the principles of the series, and the extensive commentary is attentive to the theatrical dimensions of the play as well as to the rich complexity of its poetic language.

Written at some time between 1602 and 1604, Othello belongs to the period in which Shakespeare's powers as a tragic dramatist were at their peak. On stage, the romantic cast of its story and the remorseless drive of its plotting, combined with operatic extravagance of its emotion and the swelling music of its poetry, have made it amongst the most consistently successful of his tragedies; and numerous anecdotes testify to its extraordinary capacity to overwhelm the imagination of an audience. In recent times the play's bold treatment of love and marriage across the divide of race has made it a work of particular interest to theatre directors and scholars alike. Yet Othello's critical fortunes have been uneven; for, since Rymer's notorious denunciation of this 'tragedy of [a] handkerchief,' at the end of the seventeenth century, its claim to rank amongst Shakespeare's greatest achievements has been challenged by critics who have found its plot too strained, its characters too improbable, and its tale of marital jealousy and murder too meanly domestic to challenge comparison with Hamlet, King Lear, Macbeth, or even that saga of tragic infatuation, Antony and Cleopatra.The extensive introduction to this new edition answers the play's detractors by stressing the public dimensions of the tragedy, paying particular attention to its treatment of colour and social relations. Although 'race' in the early modern period was still an embryonic category, Othello is explored as a text that-not least in its performance history-has played a formative role (for both good and ill) in the emergence of racial thinking, and that as a result remains deeply controversial. In the play's own time, however, the sensitivities aroused by the hero's colour might well have seemed less significant than the way in which Iago's perfidious role plays out a crisis in the institution of service on which the entire social order, including its treatment of gender, was founded. In this respect, too, Othello emerges as a work profoundly involved in the social and political processes that helped to shape the modern world.The text has been freshly edited in accordance with the general principles of the series. Othello has come down to us in two markedly different early texts; and the substantial differences between the 1622 Quarto and the 1623 Folio have led to its becoming involved, along with Hamlet and Lear, in an intense debate over Shakespearian revision. Michael Neill argues however, that, in the case of Othello, variation is much less likely to be the result of changed authorial intentions than of theatrical cutting and the peculiar circumstances of textual transmission. While the Folio is generally the more reliable of the rival versions, the Quarto's origin in a text that has been modified for performance text make it indispensable, and the two have been fully collated. This edition also makes full use of the Second Quarto (1632) a text which, although it is without independent authority, preserves important textual decisions made by an intelligent and well-informed editor nearly contemporary with the dramatist himself. Further appendices include a discussion of dating problems, an account of the music in the play, and a full translation of the Italian novella from which the story derives. The detailed commentary is designed to alert readers to the play's theatrical life, as well as helping them to explore its rich language and notoriously treacherous word-play.

Death, like most experiences that we think of as 'natural', is a product of the human imagination: all animals die, but only human beings suffer Death; and what they suffer is shaped by their own time and culture. Tragedy was one of the principal instruments through which the culture of early modern England imagined the encounter with mortality. The essays in this book approach the theatrical reinvention of Death from three perspectives. Those in Part 1 explore Death as a trope of apocalypse - a moment of un-veiling or dis-covery that is figured both in the fearful nakedness of the Danse Macabre and in the shameful 'openings' enacted in the new theatres of anatomy. Separate chapters explore the apocalyptic design of two of the period's most powerful tragedies - Shakespeare's Othello, and Middleton and Rowley's The Changeling. In Part 2, Neill explores the psychological and affective consequences of tragedy's fiercely end-driven narrative in a number of plays where a longing for narrative closure is pitched against a particularly intense dread of ending. The imposition of an end is often figured as an act of writerly violence, committed by the author or his dramatic surrogate. Extensive attention is paid to Hamlet as an extreme example of the structural consequences of such anxiety. The function of revenge tragedy as a response to the radical displacement of the dead by the Protestant abolition of purgatory - one of the most painful aspects of the early modern re-imagining of death - is also illustrated with particular clarity. Finally, Part 3 focuses on the way tragedy articulates its challenge to the undifferentiating power of death through conventions and motifs borrowed from the funereal arts. It offers detailed analyses of three plays - Shakespeare's Anthony and Cleopatra, Webster's The Duchess of Malfi, and Ford's The Broken Heart. Here, funeral is rewritten as triumph, and death becomes the chosen instrument of an heroic self-fashioning designed to dress the arbitrary abruption of mortal ending in a powerful aesthetic of closure.

Death, like most experiences that we think of as natural, is a product of the human imagination: all animals die, but only human beings suffer Death; and what they suffer is shaped by their own time and culture. Tragedy was one of the principal instruments through which the culture of early modern England imagined the encounter with mortality. The essays in this book approach the theatrical reinvention of Death from three perspectives. Those in Part I explore Death as a trope of apocalypse -- a moment of un-veiling or dis-covery that is figured both in the fearful nakedness of the Danse Macabre and in the shameful openings enacted in the new theatres of anatomy. Separate chapters explore the apocalyptic design of two of the periods most powerful tragedies -- Shakespeare's Othello, and Middleton and Rowley's The Changeling. In Part 2, Neill explores the psychological and affective consequences of tragedy's fiercely end-driven narrative in a number of plays where a longing for narrative closure is pitched against a particularly intense dread of ending. The imposition of an end is often figured as an act of writerly violence, committed by the author or his dramatic surrogate. Extensive attention is paid to Hamlet as an extreme example of the structural consequences of such anxiety. The function of revenge tragedy as a response to the radical displacement of the dead by the Protestant abolition of purgatory -- one of the most painful aspects of the early modern re-imagining of death -- is also illustrated with particular clarity. Finally, Part 3 focuses on the way tragedy articulates its challenge to the undifferentiating power of death through conventions and motifs borrowed from the funereal arts. It offers detailed analyses of three plays -- Shakespeare's Antony and Cleopatra, Webster's The Duchess of Malfi, and Ford's The Broken Heart. Here, funeral is rewritten as triumph, and death becomes the chosen instrument of an heroic self-fashioning designed to dress the arbitrary abruption of mortal ending in a powerful aesthetic of closure.

The Oxford Handbook of Shakespearean Tragedy is a collection of fifty-four essays by a range of scholars from all parts of the world, bringing together some of the best-known writers in the field with a strong selection of younger Shakespeareans. Together these essays offer readers a fresh and comprehensive understanding of Shakespeare tragedies as both works of literature and as performance texts written by a playwright who was himself an experienced actor. The collection is organised in five sections. The substantial opening section introduces the plays by placing them in a variety of illuminating contexts: as well looking at ways in which later generations of critics have shaped our idea of 'Shakespearean' tragedy, it addresses questions of genre by examining the playwright's inheritance from the classical and medieval past, by considering tragedy's relationship to other genres (including history plays, tragicomedy, and satiric drama), and by showing how Shakespeare's tragedies respond to the pressures of early modern politics, religion, and ideas about humanity and the natural world. The second section is devoted to current textual issues; while the third offers new critical readings of each of the tragedies, from Titus Andronicus to Coriolanus. This is set beside a group of essays that deal with performance history, with screen productions, and with versions devised for the operatic stage, as well as with the extraordinary diversity of twentieth and twenty-first century re-workings of Shakespearean tragedy. The thirteen essays of the book's final section seek to expand readers' awareness of Shakespeare's global reach, tracing histories of criticism and performance across Europe, the Americas, Australasia, the Middle East, Africa, India, and East Asia. Offering the richest and most diverse collection of approaches to Shakespearean tragedy currently available, the Handbook will be an indispensable resource for students both undergraduate and graduate levels, while the lively and provocative character of its essays make will it required reading for teachers of Shakespeare everywhere.

The Oxford Handbook of Shakespearean Tragedy presents fifty-four essays by a range of scholars from all parts of the world. Together these essays offer readers a fresh and comprehensive understanding of Shakespeare tragedies as both works of literature and as performance texts written by a playwright who was himself an experienced actor. The opening section explores ways in which later generations of critics have shaped our idea of 'Shakespearean' tragedy, and addresses questions of genre by examining the playwright's inheritance from the classical and medieval past. The second section is devoted to current textual issues, while the third offers new critical readings of each of the tragedies. This is set beside a group of essays that deal with performance history, with screen productions, and with versions devised for the operatic stage, as well as with twentieth and twenty-first century re-workings of Shakespearean tragedy. The book's final section expands readers' awareness of Shakespeare's global reach, tracing histories of criticism and performance across Europe, the Americas, Australasia, the Middle East, Africa, India, and East Asia.

The Oxford ShakespeareGeneral Editor: Stanley WellsThe Oxford Shakespeare offers authoritative texts from leading scholars in editions designed to interpret and illuminate the plays for modern readers- A new, modern-spelling text, collated and edited from all existing printings- Extensive introduction gives full attention to the play's bold treatment of racial themes, gender, and social relations- Detailed performance history designed to meet the needs of theatre professionals- On-page commentary and notes explain language, word-play, and staging- Appendices on music in the play and a full translation of the Italian novella from which the story derives- Illustrated with production photographs and related art- Full index to introduction and commentary- Durable sewn binding for lasting use'not simply a better text but a new conception of Shakespeare. This is a major achievement of twentieth-century scholarship.' ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

Putting History to the Question marks a critical step beyond the orthodoxy of New Historicism. This collection of mutually enriching essays, hitherto scattered through a variety of journals and critical collections, represents a generous range of Michael Neill's critical writings. Together they constitute a singularly eloquent exploration of the ways in which literary texts engage the world around them. Putting History to the Question is the result of Neill's ongoing investigation of how literature provides a revealing portrait of nation, social order, and empire, and how the flow of literary discourse affects the progress of history. Covering dramatic works by Shakespeare, John Fletcher, Philip Massinger, and others-and reflecting upon subjects ranging from social attitudes toward racial difference and adultery to the politics of mercantilism and the hierarchy of relationships between masters and servants-the book reenergizes discussion of Renaissance drama and history.In exposing the complex and fluid interdependence of literature and history, Neill avoids two common pitfalls of literary criticism, neither elevating literature above the world in which it is produced and read nor casting literary texts as mere barometers of political currents. For the many scholars and students accustomed to reading from tattered photocopies of Neill's seminal writings, Putting History to the Question will be a valuable addition to the critical library.

Putting History to the Question marks a critical step beyond the orthodoxy of New Historicism. This collection of mutually enriching essays, hitherto scattered through a variety of journals and critical collections, represents a generous range of Michael Neill's critical writings. Together they constitute a singularly eloquent exploration of the ways in which literary texts engage the world around them. Putting History to the Question is the result of Neill's ongoing investigation of how literature provides a revealing portrait of nation, social order, and empire, and how the flow of literary discourse affects the progress of history. Covering dramatic works by Shakespeare, John Fletcher, Philip Massinger, and others-and reflecting upon subjects ranging from social attitudes toward racial difference and adultery to the politics of mercantilism and the hierarchy of relationships between masters and servants-the book reenergizes discussion of Renaissance drama and history.In exposing the complex and fluid interdependence of literature and history, Neill avoids two common pitfalls of literary criticism, neither elevating literature above the world in which it is produced and read nor casting literary texts as mere barometers of political currents. For the many scholars and students accustomed to reading from tattered photocopies of Neill's seminal writings, Putting History to the Question will be a valuable addition to the critical library.

This Norton Critical Edition of John Webster’s 1612–13 tragedy offers a newly edited and annotated text together with a full introduction and illustrative materials intended for student readers. The Duchess of Malfi’s themes of love, loyalty and betrayal have resonated through the centuries, making this a perennially popular play with audiences and readers alike.

The freshly edited and annotated text comes with a full introduction and illustrative materials intended for student readers.The Spanish Tragedy was well known to sixteenth-century audiences, and its central elements—a play-within-a-play and a ghost bent on revenge—are widely believed to have influenced Shakespeare’s Hamlet. This volume includes a generous selection of supporting materials, among them Kyd’s likely sources (Virgil, Jacques Yver, and the anonymous “The Earl of Leicester Betrays His Own Servant”), Thomas Nashe’s satiric criticism of Kyd, Michel de Montaigne and Francis Bacon on revenge, and “The Ballad of The Spanish Tragedy,” which suggests the play’s initial reception.“Criticism” is thematically organized to provide readers with a clear sense of the play’s major themes. Contributors include Michael Hattaway, Jonas A. Barish, Donna B. Hamilton, G. K. Hunter, Lorna Hutson, Molly Smith, J. R. Mulryne, T. McAlindon, and Andrew Sofer.A Selected Bibliography is also included.

Originally published in 1988, John Ford: Critical Re-Visions offers a wholesale reconsideration of the reputation of a major Caroline playwright. The volume takes an historical perspective and offers a better understanding of Ford's achievement in the light of the theatrical and social conditions of his own day. The collection of essays was assembled for the 400th anniversary of the playwright's birth. The contributors, well known scholars in the field, work from a variety of critical positions: insights associated with a new historicist, feminist, structuralist and post-structuralist theory are represented, together with more traditional approaches. The essays range from detailed readings of the individual plays, including 'Tis Pity She's a Whore, Perkin Warbeck, Love's Sacrifice and The Lady's Trial to more wide-ranging studies of imagery and theatrical convention; several help to illuminate our understanding of Ford's plays in the theatre of his own time, while another offers a detailed account of post-war stage, film and television productions.

This edition brings five of Marston's most interesting plays together in a readable and helpful form. They are collected with modern spelling, full commentaries, textual notes and introductions, in texts newly edited from the original quartos. A survey of criticism of Marston is included. The edition of Sophonisba (a play highly praised by T. S. Eliot) is the first modernised text to appear in one hundred years. Another textual innovation is the relegation to an appendix of Webster's obtrusive additions to The Malcontent. Marston's plays have enjoyed popular revivals in English theatres over the last decade, and the authors' commentary is designed to alert readers to theatrical effects. The playwright's language is elucidated here far more fully than in any other collection.

This collaborative masterpiece of hilarious city comedy was performed by the Children of the Revels at the Blackfriars playhouse in 1605. The story is of an allegorical simplicity that lends itself to satire of civic mores and traditions as well as to parody of the sentimental, idealising London comedy presented at the amphitheatres in the suburbs: Goldsmith Touchstone, an upright London citizen, has one modest and one ambitious daughter, one righteous and one disreputable apprentice; virtue is rewarded, ruthlessness comes to grief - and receives a drenching in the muddy Thames. The introduction to this edition discusses various methods of establishing authorship and highlights the irony of the collaborators' comic vision of contemporary London life.

Representing a wide range of critical and theoretical perspectives, this volume examines J.M. Coetzee's novels from Dusklands to Diary of a Bad Year. The choice of essays reflects three broad goals: aligning the South African dimension of Coetzee's writing with his "late modernist" aesthetic; exploring the relationship between Coetzee's novels and his essays on linguistics; and paying particular attention to his more recent fictional experiments. These objectives are realized in essays focusing on, among other matters, the function of names and etymology in Coetzee's fiction, the vexed relationship between art and politics in apartheid South Africa, the importance of film in Coetzee's literary sensibility, Coetzee's reworkings of Defoe, the paradoxes inherent in confessional narratives, ethics and the controversial politics of reading Disgrace, intertextuality and the fictional self-consciousness of Slow Man. Through its pronounced emphasis on the novelist's later work, the collection points towards a narrato-political and linguistic reassessment of the Coetzee canon.

Representing a wide range of critical and theoretical perspectives, this volume examines J.M. Coetzee's novels from Dusklands to Diary of a Bad Year. The choice of essays reflects three broad goals: aligning the South African dimension of Coetzee's writing with his "late modernist" aesthetic; exploring the relationship between Coetzee's novels and his essays on linguistics; and paying particular attention to his more recent fictional experiments. These objectives are realized in essays focusing on, among other matters, the function of names and etymology in Coetzee's fiction, the vexed relationship between art and politics in apartheid South Africa, the importance of film in Coetzee's literary sensibility, Coetzee's reworkings of Defoe, the paradoxes inherent in confessional narratives, ethics and the controversial politics of reading Disgrace, intertextuality and the fictional self-consciousness of Slow Man. Through its pronounced emphasis on the novelist's later work, the collection points towards a narrato-political and linguistic reassessment of the Coetzee canon.

This Jacobean tragic-comedy by Philip Massinger explores the cultural conflict between Christian Europe and Muslim North Africa experienced when the two began to travel and trade in the early modern period. The play is peopled with merchants and pirates and the somewhat convoluted plot involves conversions between both faiths, disguise, kidnap and clandestine marriage.The play is one of many of the period exploring the tantalising and sometimes threatening "other" world of other religions and cultures and as such is studied alongside more familiar plays such as Othello and The Merchant of Venice. Michael Neill explores the themes as well as the pure theatrical joy of this fast-paced play, putting it in its historical context as well as discussing how it resonates with modern audiences and readers today.

Arguably the most perfectly poised of Restoration wit comedies, The Man of Mode is a finished exercise in dramatic sprezzatura, or nonchalance, matching the beguiling ‘easiness’ and ‘complaisance’ of its central character. The play's imaginative brilliance depends upon its author's ability to hint at the dark abyss of passion and emotional violence at whose edge the modish denizens of the town perform their graceful ballet. Its seemingly casual construction and wanton breaches of comic decorum mask a ferocious artistic control designed to upset the complacency of the audience’s moral, social and aesthetic assumptions by luring them into sympathy for a character whose dangerous ‘wildness’ they ought to deplore. It is at once among the funniest and the most unsettling of comedies in English.The full, modernized play text is accompanied by incisive commentary notes, while its engaging introduction unpacks the complexity of the Restoration’s political and theatrical context, analyses the play’s performance history (including Nicholas Hytner’s 2007 modern-dress version) and demonstrates Etherege’s linguistic finesse. This edition is supplemented by a plot summary and an annotated bibliography.The New Mermaids plays offer: · Modernized versions of the play text edited to the highest textual standards · Fully annotated student editions with obscure words explained and critical, contextual and staging insight provided on each page · Full Introductions analyzing context, themes, author background and stage history

“The next good mood I find my father in, I’ll get him quite discarded”With these chillingly offhand words, Beatrice-Joanna, the spoilt daughter of a powerful nobleman, plots to get rid of the family servant who has crossed her once too often. The Changeling’s vivid tale of sexual appetite, repulsion, betrayal and lunacy remains one of the most compelling tragedies of the 17th century. Exposing the vexed relationship between servants and masters, setting notions of `change’ against the revelation of psychological ‘secrets’ as ways of explaining human behaviour, and exploring the idea of love as a `tame madness’, the play reveals the terrifying consequences of ungoverned sexual appetite and betrayal. Featuring the full and modernized play text, this revised edition includes incisive commentary notes which explain the nuances of the play’s vibrant, colloquial language and demonstrate its sly delight in the characters’ conscious and unconscious wordplay. Michael Neill’s illuminating introduction provides a firm grounding in the play’s socio-political context, demonstrates how careful close-reading can expand your enjoyment of the play, explains the play’s violent linkage of comic and tragic plots and gives theatrical life to the text via a discussion of its stage history, with a particular emphasis on the most interesting recent productions. The New Mermaids plays offer: · Modernized versions of the play text edited to the highest textual standards · Fully annotated student editions with obscure words explained and critical, contextual and staging insight provided on each page · Full Introductions analyzing context, themes, author background and stage history

Would you like to experience amazing clarity, peace and freedom, even in the midst of challenging circumstances?In this ground-breaking new book, bestselling author Michael Neill shares an extraordinary new understanding of how life works that turns traditional psychology on its head. This revolutionary approach is built around three simple principles that explain where our feelings come from and how our experience of life can transform for the better in a matter of moments. Understanding these principles allows you to tap into the deeper intelligence behind life, access your natural wisdom and guidance, and unleash your limitless creative power. You'll be able to live with less stress, greater ease and a sense of connection to the larger unfolding of life.Welcome to the space where miracles happen...Are you ready to begin?

There is a space within you where you are already perfect, whole and complete. It is a space of pure consciousness - the space inside which all thoughts come and go.When you rest in the feeling of this space, the warmth of it heals your mind and body. When you operate from the infinite creative potential of this space, you produce high levels of performance and creative flow. When you sit in the openness of this space with others, you experience a level of connection and intimacy that is breathtakingly enjoyable and filled with love. And when you explore this space more deeply, you will find yourself growing closer and closer to the divine, even if you're not sure there is such a thing and wouldn't know how to talk about it if there was.Every problem we have in life is the result of losing our bearings and getting caught up in the content of our own thinking. The solution to every one of those problems is to find our way back home. This is both the invitation and the promise of this book.One problem. One solution. Infinite possibilities. Are you ready to begin?

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Join best-selling author and internationally renowned transformative coach Michael Neill as he guides you through 10 coaching sessions designed to change your life for the better. Inside you'll learn: · a simple but profound explanation of how the mind works · why happiness is closer than you think · a whole new way of thinking about goals · the simple foundation of lasting relationships · a radical new understanding of human emotion · the secret to financial security in any economy · ideas to spark your creativity, productivity, and so much more! · For those who want to make more of a difference in the world and have a deeper, more meaningful experience of being alive, this book will unleash your potential with intelligence, humor, and heart!

This dynamic and inspirational book shares the wisdom that Michael has acquired from 15 years of working with thousands of individuals and experimenting with hundreds of techniques for creating a better life. Michael has realised that there are very few tools that work for everyone. In this friendly practical guide he shares those special tips, tricks and techniques and helps people: - Recognize the unique contribution you are here to make in the world- Learn how to create the life you want- Create a life that makes you (and everyone around you) go 'wow'!

In his bestseller You Can Have What You Want, success coach Michael Neill revealed the practical benefits of cultivating inner happiness for creating tangible real-world success. Now, he reveals the 'how' of happiness - simple, effective ways to beat stress, overcome anxiety, move beyond depression and reap the benefits of feeling happy, in spite of it all.Inside, you will find:• the Happy Formula - three simple steps that will enable you to feel good, feel better and even feel happy in any situation• why unhappiness is not the enemy - and paradoxically is one of the keys to feeling good on an ongoing basis• the Permission Principle - overcoming the biggest obstacle to a happy life• specific, proven techniques for making stress, anxiety and fear thingsof the pastWhether you are in search of a quick pick-me-up or a lasting change, this book is packed with everything you need to put the power of happiness to work in your own life!