PDF-Bücher , by William Shakespeare
PDF-Bücher , by William Shakespeare
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, by William Shakespeare
PDF-Bücher , by William Shakespeare
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Produktinformation
Format: Kindle Ausgabe
Dateigröße: 408 KB
Seitenzahl der Print-Ausgabe: 229 Seiten
ISBN-Quelle für Seitenzahl: 154408689X
Verlag: Green World Classics (5. Juli 2019)
Verkauf durch: Amazon Media EU S.Ã r.l.
Sprache: Englisch
ASIN: B077PTY2JL
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Durchschnittliche Kundenbewertung:
3.8 von 5 Sternen
21 Kundenrezensionen
Amazon Bestseller-Rang:
#1.243.372 Bezahlt in Kindle-Shop (Siehe Top 100 Bezahlt in Kindle-Shop)
Diese Ausgabe des Lear besticht sowohl durch die Gestaltung des Textes selbst als auch durch die angebotenen Zusatzmaterialien.Der Text ist mit sinnvollen einsprachigen Annotationen versehen; kurze Szenenzusammenfassungen zu Beginn jeder Szene erleichtern das Verständnis der Sprache und die Einordnung in den Kontext.Außerdem werden die handelnden Personen ausführlich vorgestellt sowie eine zusammenhängende Zusammenfassung des Stückes (nach Szenen unterteilt) angeboten. Eine Kurzeinführung in die Sprache Shakespeares rundet die Zusatzmaterialien ab.Alles in allem eine gelungene Ausgabe, die nicht nur im Englischunterricht sehr gut verwendbar ist, sondern auch ein Eigenstudium des Stückes ermöglicht.
Schönes, handliches Buch, altbewährte Übersetzung, alles bestens!
I used this for my a level english literature coursework and it is extremely handy! i have used the Cambridge one parallel to it but frankly speaking, the oxford edition is better- it contains the full text (unlike the cambridge one) and useful essays and summaries are included
Buch kam schnell und war vollkommen neu und i.O. War Thema meiner Masterarbeit und hat mir sehr geholfen. Im Intro werden viele Zusammenhänge detailliert erläutert. Zu empfehlen.
Das Buch war in sehr schlechte Zustand und ch habe der Verkaufer kontaktiert das Buch zurück zu schicken aber ich habe keine Antwort bekommen.
"Nothing will come of nothing" the fatal line Lear utters to Cordelia sums up the entire play. The wizened king believes he is urging Cordelia not to refrain from expressing her love for him when in fact he is unwittingly prompting her to use the same insincere flattery as her sisters. When Cordelia refuses to acquiesce to Lear's wishes, he banishes her from the kingdom and divides it among her nefarious sisters Goneril and Reagan. In doing this Lear accepts their empty flattery instead of Cordelia's austere profession of paternal love. Goneril and Reagan quickly betray Lear and then turn against each other. Thus Lear's preference for empty flattery (nothing) destroys his authority and embroils his kingdom in civil strife (generates nothing).This theme runs like a thread through other parts of the play. Gloucester's blindness toward the nature of his sons results in his literal blindness later in the play. Metaphorical blindness generates physical blindness (nothing comes of nothing). Similarly, after Edgar is banished he avoids further harm by shedding his identity and disguising himself as a vagrant. In the new order of things eliminating one's status results in no harm (another version of nothing coming from nothing).The motif of nothing coming from nothing has psychological and political ramifications for the play. From a psychological point of view Lear fails to realize that the type of adulating love he wants from Cordelia no longer exists because Cordelia is no longer a child. Her refusal to flatter Lear is, in a sense, an act of adolescent rebellion. Lear's failure to recognize the fact that Cordelia still loves him but not with the totality of a child proves to be his undoing. From a political point of view the fact that Lear divides his kingdom on the basis of protocol (who is the most flattering) instead of reality (whose words can he really trust) also proves to be his undoing. The fact that Lear sees what he wants to see instead of what he should see is the fulcrum of destruction throughout the play.It is interesting to note that "King Lear" was staged barely one generation after England endured a bitter war of succession (The War of the Roses). The sight of Lear proclaiming his intention to divide his kingdom must have shocked contemporary audiences in the same manner that a play about appeasing fascists might disturb us today.
Like "The Comedy of Errors," "Hamlet," and "Richard III," this is a phenomenal masterpiece beyond expectations. Goneril, Regan, Cornwall, and Edmund are the most frightening and demonic characters in Shakespeare's writing. (Only his King Richard III compares). I can not overemphasize Shakespeare's mastery of writing in how he gradually unfolds the evil of these characters. While we may not know what to think of them at first, we soon learn that they would do Satan proud. Lear is handled well. First we don't know what to think of him, but then we are moved into VERY DEEP AND INTENSE pity for him. Cordelia, Kent, and Edgar are three of the most Christ like characters in Shakespeare's writings. The virtuous Albany also displays Shakespeare's best skills. First we hardly see him, but other characters express Albany's contempt for the diabolical Cornwall several times. In 4.2, his fury at his demonic wife shows us that he is planning a bold countermove. By 5.3, Albany actually takes on all 3 of the remaining monstrously evil characters. Shakespeare also offers us powerful dramatic irony with the fool. He also offers us powerful (and very terrifying) images. There are also several moving passages in this play. (Especially Edgar's soliloquy 3.6.111-125). Somehow, Shakespeare even managed to squeeze some welcome comical touches in.
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