From Library Journal
In the crowded world of collected Shakespeares, there have been two notable works, The Oxford Shakespeare (Oxford Univ., 1986) and The Riverside Shakespeare (Houghton Mifflin, 1997). The most recent edition of the Riverside explores developments in Shakespearean criticism, while the Oxford presents an innovation in the Shakespearean canon. It is the Oxford edition that forms the core of The Norton Shakespeare, destined to change the count of notables to three. General editor Greenbelt (Berkeley and Harvard) and editors Walter Cohen, Jean E. Howard, and Katharine Eisaman Maus, all noted scholars of the period, acknowledge their debt to the work of the Oxford editors. However, they use the strong foundation of the Oxford to create a new and wonderful text of great richness and depth. Their mission is to make Shakespeare accessible to modern readers. With lengthy introductions providing insight into Shakespeare's life and times as well as textual notes, marginal glosses, footnotes, and bibliographies, they more than achieve their aim. In addition, the work is designed for use in classrooms (the student version includes a CD-ROM) and to that end offers some fascinating textual editing to help both students and lovers of Shakespeare understand the complexity of his writing. With King Lear, for example, the editors offer three versions: the 1608 quarto text, the 1623 Folio text (on facing pages), and then a conflated version of the two so that readers can take their own measure of the merits of conflation. For Hamlet, the editors interpolated into the folio passages of the second quarto with different typeface and spacing so that readers can view the work as an organic text. The editors also seek to widen the reader's view of Shakespeare with additional essays by Andrew Gurr (Univ. of Reading) on Elizabethan and Jacobean expectations of theater as well as genealogies, an illustrated chronology of Shakespeare's life, and over 150 illustrations. The result is a work of immense scope, scholarship, and richness. Not only will it be a vital collection for years, it will become the standard to emulate. An essential purchase for all libraries.?Neal Wyatt, Chesterfield Cty. P.L., Va.
Copyright 1997 Reed Business Information, Inc.
--This text refers to an out of print or unavailable edition of this title.
About the Author
Stephen Greenblatt (Ph.D. Yale) is Cogan University Professor of the Humanities at Harvard University. Also General Editor of The Norton Shakespeare, he is the author of eleven books, including The Swerve: How the World Became Modern; Shakespeare’s Freedom; Will in the World: How Shakespeare Became Shakespeare; Hamlet in Purgatory; Practicing New Historicism; Marvelous Possessions: The Wonder of the New World; and Learning to Curse: Essays in Early Modern Culture. He has edited seven collections of criticism, including Cultural Mobility: A Manifesto, and is a founding coeditor of the journal Representations. His honors include the MLA’s James Russell Lowell Prize for Shakespearean Negotiations: The Circulation of Social Energy in Renaissance England, the Distinguished Humanist Award from the Mellon Foundation, the Wilbur Cross Medal from the Yale University Graduate School, the William Shakespeare Award for Classical Theatre, the Erasmus Institute Prize, two Guggenheim Fellowships, and the Distinguished Teaching Award from the University of California, Berkeley. He was president of the Modern Language Association of America and is a fellow of the American Academy of Arts and Sciences, the American Philosophical Society, and the American Academy of Arts and Letters.
Walter Cohen (Ph.D. Berkeley) is Professor of Comparative Literature and Chair of the Department of Romance Studies at Cornell University, where he formerly was Dean of the Graduate School and Vice Provost of the university. He is the author of Drama of a Nation: Public Theater in Renaissance England and Spain, as well as numerous journal articles.
Jean E. Howard (Ph.D., Yale) is the George Delacorte Professor in the Humanities at Columbia University. Author of Shakespeare's Art of Orchestration, The Stage and Social Struggle in Early Modern England, Engendering a Nation (with Phyllis Rackin), and Theater of a City: The Places of London Comedy, she has edited six collections of essays, including the four-volume Blackwell's Companion to Shakespeare's Works. General Editor of the Bedford contextual editions of Shakespeare, Howard is Past President of the Shakespeare Association of America. She has received numerous fellowships and awards including Guggenheim, ACLS, NEH, Folger, Huntington, and Newberry Library Fellowships. At Syracuse University she received the Wasserstrom Prize for Excellence in Graduate Teaching and at Columbia University the University Graduate Mentoring Award.
Katharine Eisaman Maus (Ph.D. Johns Hopkins) is James Branch Cabell Professor of English at the University of Virginia. She received the 1996 Roland Bainton Book Prize for Inwardness and Theater in the English Renaissance. She is also the author of Ben Jonson and the Roman Frame of Mind; editor of a volume of Renaissance tragedies; and coeditor of English Renaissance Drama: A Norton Anthology, The Norton Shakespeare, and a collection of criticism on seventeenth-century English poetry. She is a recipient of Guggenheim, NEH, and ACLS fellowships.