René Weis – författare

This major new edition of Shakespeare's greatest tragedy of love argues that that play is ultimately Juliet's. The play text is expertly edited and the on-page commentary notes discuss issues of staging, theme, meaning and Shakespeare's use of his sources to give the reader deep and engaging insights into the play. The richly illustrated introduction looks at the play's exceptionally beautiful and complex language and focuses on the figure of Juliet as being at its centre. René Weis discusses the play's critical, stage and film history, including West Side Story and Baz Luhrmann's seminal film Romeo + Juliet. This is an authoritative edition from a leading scholar, giving the reader a penetrating and wide-ranging insight into this ever popular play.

In the 13th century, a group of heretics in southwest France, the Cathars, became a serious threat to the Catholic church. In several waves of repression, thousands of Cathars were killed. Yet so ardent was their faith that, early in the next century, the Cathars rose one last time. Using the breathtakingly detailed and uniquely extant documentation from this period, and drawing on his intimate knowledge of the last Cathars' tracks and hiding places, many of which survive to this day, René Weis tells the full story of this gripping historical episode.

The Real Traviata is the rags-to-riches story of a tragic young woman whose life inspired one of the most famous operas of all time, Verdi''s masterpiece La traviata, as well as one of the most scandalous and successful French novels of the nineteenth century, La Dame aux Camélias, by Alexandre Dumas fils. The woman at the centre of the story, Marie Duplessis, escaped from her life as an abused teenage girl in provincial Normandy, rising in an amazingly short space of time to the apex of fashionable life in nineteenth century Paris, where she was considered the queen of the Parisian courtesans. Her life was painfully short, but by sheer willpower, intelligence, talent, and stunning looks she attained such prominence in the French capital that ministers of the government and even members of the French royal family fell under her spell. In the 1840s, she commanded the kind of ''paparazzi'' attention that today we associate only with major royalty or the biggest Hollywood stars. Aside from the younger Dumas, her conquests included a host of writers and artists, including the greatest pianist of the century, Franz Liszt, with whom she once hoped to elope. When she died Théophile Gautier, one of the most important Parisian writers of the day, penned an obituary fit for a princess. Indeed, he boldly claimed that she had been a princess, notwithstanding her peasant origin and her distinctly demi-monde existence. And although now largely forgotten, in the years immediately after her death, Marie''s legend if anything grew in stature, with her immortalization in Verdi''s La traviata, an opera in which the great Romantic composer tried to capture her essence in some of the most heart-wrenching and lyrical music ever composed.

The Real Traviata is the rags-to-riches story of a tragic young woman whose life inspired one of the most famous operas of all time, Verdi''s masterpiece La traviata, as well as one of the most scandalous and successful French novels of the nineteenth century, La Dame aux Camélias, by Alexandre Dumas fils. The woman at the centre of the story, Marie Duplessis, escaped from her life as an abused teenage girl in provincial Normandy, rising in an amazingly short space of time to the apex of fashionable life in nineteenth century Paris, where she was considered the queen of the Parisian courtesans. Her life was painfully short, but by sheer willpower, intelligence, talent, and stunning looks she attained such prominence in the French capital that ministers of the government and even members of the French royal family fell under her spell. In the 1840s, she commanded the kind of ''paparazzi'' attention that today we associate only with major royalty or the biggest Hollywood stars. Aside from the younger Dumas, her conquests included a host of writers and artists, including the greatest pianist of the century, Franz Liszt, with whom she once hoped to elope. When she died Théophile Gautier, one of the most important Parisian writers of the day, penned an obituary fit for a princess. Indeed, he boldly claimed that she had been a princess, notwithstanding her peasant origin and her distinctly demi-monde existence. And although now largely forgotten, in the years immediately after her death, Marie''s legend if anything grew in stature, with her immortalization in Verdi''s La traviata, an opera in which the great Romantic composer tried to capture her essence in some of the most heart-wrenching and lyrical music ever composed.

This edition offers a fully modernized text of one of Shakespeare's most fascinating plays. Henry IV, Part 2 is the only play in the canon whose structure almost exactly mirrors that of its predecessor, and thereby affords unique perspectives on Shakespeares art and craft. Far from being the impoverished country cousin of an illustrious work, Part 2 introduces unforgettable new characters like Pistol and Shallow, and memorable minor players such as Doll Tearsheet and the reluctant Goucestershire recruits. Above all, it gives us more Falstaff. Although he is now politically distanced from Hal, he looms larger than ever as a mischievous figure who never ceases to fascinate with his unique blend of native wit, inventiveness, and corruption. Through a radical reconsideration of the play's text(s) and date, it is argued here for the first time that the character of Falstaff was called Oldcastle in Part 2 as well as in Part 1, and that it was the vetting of Part 2 for the 1596-7 Christmas performances at Court which led to the change of name in both plays. This edition moreover takes the view that the Folio-only passages in the play reflect the text of the original prompt-book.

The Real Traviata is the rags-to-riches story of a tragic young woman whose life inspired one of the most famous operas of all time, Verdi's masterpiece La traviata, as well as one of the most scandalous and successful French novels of the nineteenth century, La Dame aux Camélias, by Alexandre Dumas fils. The woman at the centre of the story, Marie Duplessis, escaped from her life as an abused teenage girl in provincial Normandy, rising in an amazingly short space of time to the apex of fashionable life in nineteenth century Paris, where she was considered the queen of the Parisian courtesans. Her life was painfully short, but by sheer willpower, intelligence, talent, and stunning looks she attained such prominence in the French capital that ministers of the government and even members of the French royal family fell under her spell. In the 1840s she commanded the kind of 'paparazzi' attention that today we associate only with major royalty or the biggest Hollywood stars. Aside from the younger Dumas, her conquests included a host of writers and artists, including the greatest pianist of the century, Franz Liszt, with whom she once hoped to elope. When she died Théophile Gautier, one of the most important Parisian writers of the day, penned an obituary fit for a princess. Indeed, he boldly claimed that she had been a princess, notwithstanding her peasant origin and her distinctly demi-monde existence. And although now largely forgotten, in the years immediately after her death, Marie's legend if anything grew in stature, with her immortalization in Verdi's La traviata, an opera in which the great Romantic composer tried to capture her essence in some of the most heart-wrenching and lyrical music ever composed.

The Real Traviata is the rags-to-riches story of a tragic young woman whose life inspired one of the most famous operas of all time, Verdi's masterpiece La traviata, as well as one of the most scandalous and successful French novels of the nineteenth century, La Dame aux Camélias, by Alexandre Dumas fils. The woman at the centre of the story, Marie Duplessis, escaped from her life as an abused teenage girl in provincial Normandy, rising in an amazingly short space of time to the apex of fashionable life in nineteenth century Paris, where she was considered the queen of the Parisian courtesans. Her life was painfully short, but by sheer willpower, intelligence, talent, and stunning looks she attained such prominence in the French capital that ministers of the government and even members of the French royal family fell under her spell. In the 1840s, she commanded the kind of 'paparazzi' attention that today we associate only with major royalty or the biggest Hollywood stars. Aside from the younger Dumas, her conquests included a host of writers and artists, including the greatest pianist of the century, Franz Liszt, with whom she once hoped to elope. When she died Théophile Gautier, one of the most important Parisian writers of the day, penned an obituary fit for a princess. Indeed, he boldly claimed that she had been a princess, notwithstanding her peasant origin and her distinctly demi-monde existence. And although now largely forgotten, in the years immediately after her death, Marie's legend if anything grew in stature, with her immortalization in Verdi's La traviata, an opera in which the great Romantic composer tried to capture her essence in some of the most heart-wrenching and lyrical music ever composed.

Rene Weis reveals Shakepeare's use of multiple sources to be eclectic in the extreme in this radical reconsideration of the play's date and text. He also argues for the first time that Falstaff was called Oldcastle in Part 2 as well as in Part I. The play's striving towards a form of order, peace, and legitimacy is explored in relation to Part I and through rigorous attention to structure and language. A full account of the play's history in performance and on film yields a fascinating reflection of its relationship to national triumph and crisis, as well as the diverse idealogical interpretations it has inspired. 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.

This volume offers John Webster's two great Jacobean tragedies, The White Devil and The Duchess of Malfi, together with his brilliant tragicomedy, The Devil's Law-Case, and the comedy written with William Rowley, A Cure for a Cuckold. Webster is a radically and creatively experimental dramatist. His tragedies deploy shifting dramatic perspectives which counteract and challenge conventional moral judgements, while the predominantly gentler tone of his comedies and tragicomedies responds inventively to contemporary changes in dramatic taste and fashion. All four plays display the provocative intelligence of a profoundly original playwright. Under the General Editorship of Michael Cordner of the University of York, the texts of the plays have been newly edited and are presented with modernized spelling and punctuation. In addition, there is detailed annotation, a glossary, and a critical introduction which traces Webster's artistic development, defends him against charges of over-indulgence in violence, and explores his sophisticated staging and scenic forms. 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.

This reissed edition of Longman Annotated Texts King Lear includes comprehensive notes, annotations and an introduction, all designed to be of use to undergraduates and interested readers.King Lear is one of Shakespeare's most widely studied tragedies. However, since the late 1970s textual scholars, critics and editors have argued that there is no single 'King Lear' text. Anyone studying the play needs to be aware of two different texts, one based on the quarto of 1608, The History of King Lear, and a revised version published in the first folio of 1623, The Tragedy of King Lear. This edition offers a fully annotated, modern spelling version of the texts set side by side, identifying and elucidating the major discrepancies between the two. It presents some possible reasons for the differences between the two texts, which themselves shed light on a number of issues relating to literary transmission in the Renaissance and give an insight into the nature of performance and censorship.

This reissed edition of Longman Annotated Texts King Lear includes comprehensive notes, annotations and an introduction, all designed to be of use to undergraduates and interested readers.King Lear is one of Shakespeare's most widely studied tragedies. However, since the late 1970s textual scholars, critics and editors have argued that there is no single 'King Lear' text. Anyone studying the play needs to be aware of two different texts, one based on the quarto of 1608, The History of King Lear, and a revised version published in the first folio of 1623, The Tragedy of King Lear. This edition offers a fully annotated, modern spelling version of the texts set side by side, identifying and elucidating the major discrepancies between the two. It presents some possible reasons for the differences between the two texts, which themselves shed light on a number of issues relating to literary transmission in the Renaissance and give an insight into the nature of performance and censorship.

This reissed edition of Longman Annotated Texts King Lear includes comprehensive notes, annotations and an introduction, all designed to be of use to undergraduates and interested readers.King Lear is one of Shakespeare's most widely studied tragedies. However, since the late 1970s textual scholars, critics and editors have argued that there is no single 'King Lear' text. Anyone studying the play needs to be aware of two different texts, one based on the quarto of 1608, The History of King Lear, and a revised version published in the first folio of 1623, The Tragedy of King Lear. This edition offers a fully annotated, modern spelling version of the texts set side by side, identifying and elucidating the major discrepancies between the two. It presents some possible reasons for the differences between the two texts, which themselves shed light on a number of issues relating to literary transmission in the Renaissance and give an insight into the nature of performance and censorship.

This major new edition of Shakespeare''s greatest tragedy of love argues that that play is ultimately Juliet''s. The play text is expertly edited and the on-page commentary notes discuss issues of staging, theme, meaning and Shakespeare''s use of his sources to give the reader deep and engaging insights into the play. The richly illustrated introduction looks at the play''s exceptionally beautiful and complex language and focuses on the figure of Juliet as being at its centre. René Weis discusses the play''s critical, stage and film history, including West Side Story and Baz Luhrmann''s seminal film Romeo + Juliet. This is an authoritative edition from a leading scholar, giving the reader a penetrating and wide-ranging insight into this ever popular play.

This major new edition of Shakespeare''s greatest tragedy of love argues that that play is ultimately Juliet''s. The play text is expertly edited and the on-page commentary notes discuss issues of staging, theme, meaning and Shakespeare''s use of his sources to give the reader deep and engaging insights into the play. The richly illustrated introduction looks at the play''s exceptionally beautiful and complex language and focuses on the figure of Juliet as being at its centre. René Weis discusses the play''s critical, stage and film history, including West Side Story and Baz Luhrmann''s seminal film Romeo + Juliet. This is an authoritative edition from a leading scholar, giving the reader a penetrating and wide-ranging insight into this ever popular play.

This reissed edition of Longman Annotated Texts King Lear includes comprehensive notes, annotations and an introduction, all designed to be of use to undergraduates and interested readers.King Lear is one of Shakespeare's most widely studied tragedies. However, since the late 1970s textual scholars, critics and editors have argued that there is no single 'King Lear' text. Anyone studying the play needs to be aware of two different texts, one based on the quarto of 1608, The History of King Lear, and a revised version published in the first folio of 1623, The Tragedy of King Lear. This edition offers a fully annotated, modern spelling version of the texts set side by side, identifying and elucidating the major discrepancies between the two. It presents some possible reasons for the differences between the two texts, which themselves shed light on a number of issues relating to literary transmission in the Renaissance and give an insight into the nature of performance and censorship.