bluuebunny/crossref_metadata_2025 huggingface dataset:
Introduction to Numerical Methods for Water Resources
Authors: Wood W L
Published: November 2023

Numerical methods provide a powerful and essential tool for the solution of problems of water resources. This book gives an elementary introduction to the various methods in current use and demonstrates that different methods work well in different situations and some problems require combinations of methods. It is essential to know something of all of them in order to make a reasoned judgement of current practice. Their applications are discussed and more specialised versions are outlined along with many references making this an invaluable, comprehensive coverage of the field.
Numerical solution of surface flow equations by finite differences
Authors: Wood W L
Published: November 2023

This chapter discusses finite difference methods applied to the solution of surface flow equations. The examples chosen are those which can be solved by fairly simple methods. They are arranged in the order in which they occur in Table 1.1.1. The first, lateral velocity distribution across a channel, is an example of an ordinary differential equation boundary value problem. The box scheme, introduced in section 3.8, is applied in section 4.2 to the non-linear hyperbolic kinematic wave equation. Section 4.3 includes the box scheme and the Abbott scheme applied to the solution of the St Venant equations. Section 4.4 discusses the limitations on the use of these schemes and section 4.5 lists some alternatives. Section 4.5 describes in outline only some more sophisticated methods for the problem of vertically integrated two-dimensional surface flow.
Introduction
Authors: Davies Wendy
Published: November 2023

The period covered by this book, from AD 800 to 1100, or thereabout, is defined by two phases of attack from beyond the islands of Britain and Ireland, the first by Vikings from Scandinavia and the second by Normans from northern France.

Viking raiding began in the 79os and in a sense continued for nearly 300 years, although it is conventional to differentiate a ‘first Viking Age’ during the ninth century from a ‘second Viking Age’ in the late tenth and early eleventh.
Lords and Labour
Authors: Fleming Robin
Published: November 2023

Extraordinary transformations were taking place in Britain between the ninth century and the eleventh, which were changing the lives of both lords and their low-status dependants. At the beginning of the ninth century, before the transformations had begun in earnest, parts of England and Wales alike were places in which kings, great lords, and powerful religious communities often controlled very large territories. These territories were comprised not of single villages, but rather of scatters of small hamlets and farmsteads, and they often encompassed not only multiple settlements, but thousands of acres of fields, woodlands, and moors (Fig. 4.1).
Did it All Happen?
Authors: Coggins Richard
Published: November 2023

The first words of the Bible, in practically every translation, are ‘In the beginning’. From the very outset, that is to say, the biblical record is presented to us as a series of events that took place at a definite time in history, a history, moreover, whose beginnings could be traced. An earlier generation of biblical scholars expended great energy and learning in working out the date of every event from creation onwards, and many editions of the Authorized Version have included this dating system, worked out shortly after its original publication, by Archbishop Ussher of Armagh, according to which creation took place in the year 4004 bce.
The Old Testament as Liberation?
Authors: Coggins Richard
Published: November 2023

So far, the primary aim of each chapter of this book has been to explore some of the ways in which a particular independent discipline—history, archaeology, sociology, and so on—can legitimately be applied to Old Testament study. From this point onwards, the pattern will be slightly different. We shall be looking at some of the ways in which the Old Testament has been regarded as furthering, or in some cases hindering, particular human concerns. Does it contribute an understanding of liberation from oppression? Do its predominantly male voices mean that women can gain little from it? How does it relate to our literary sensitivity? And finally, can it still be of value to those seeking religious and theological insights in a world far removed from that of ancient Israel? These will be the concerns that shape the remaining chapters of our exploration.
Can the Bible Speak to Women?
Authors: Coggins Richard
Published: November 2023

When this book was first published, it brought together the themes of liberation and of feminist readings in one chapter. Reference was then made to the increasing importance of this area of study, and one of the most striking developments since that first edition was published has been the continuing growth in biblical studies by women scholars, many of whom have addressed the question of the biblical presentation of women. It is not a new concern. In 1956 Rose Macaulay, in her delightful novel The Towers of Trebizond, wrote of the position of women as ‘that sad and well-nigh universal blot on civilisations’; it would be interesting to know whether she foresaw the great upsurge of interest in this whole matter which the next generation would bring. For our present context there are two closely related but distinct matters of concern; first, the way in which women’s studies, as an academic discipline in its own right, has affected Old Testament study; secondly, the renewed interest in the place of women in the Old Testament world. The two issues are bound together by the way in which a biblical view has often been taken as a model for a view of society and of relations between the sexes in the contemporary world.
What Kind Of Literature?
Authors: Coggins Richard
Published: November 2023

Whatever the disagreements about the interpretation of the Old Testament that we have noted in previous chapters, all will agree that the Old Testament is a body of literature. At first sight this might appear to be a relatively uncontroversial statement; in fact, as with practically any literature which has won high esteem, this in itself quickly leads to further dispute when interpretation is embarked upon.
General Studies of the Romantic Period
Authors: O’ Neill Michael
Published: November 2023

In recent years Romantic studies, always abundant, have multiplied at a headspinning rate. In this chapter I make no attempt at inclusiveness; even representativeness is a chimerical ambition. Instead, I draw highly selective attention to general studies of Romanticism and the Romantic period which may be regarded as significant, or particularly helpful for students, or both. For the most part, I concentrate on work from 1970 to the present, discussing studies of poetry, and studies of poetry and fiction, before studies of fiction. Overlap with later chapters has been kept to a minimum, though it is unavoidable in some cases: many books of a general kind contain discussions of individual authors, while many books focusing on specific authors contain innovative general discussions. Because ‘Romantic Gothic ‘ and ‘Fiction of the Romantic Period (Godwin, Wollstonecraft, Bage, Edgeworth, Burney, Inchbald, Hays, and Others) ‘-and the questions raised by such titles-are the subjects of chapters by Peter Garside and Susan Matthews, respectively, my treatment of these topics is brief. Again, since Robert Morrison has written a chapter on ‘Essayists of the Romantic Period ‘ and John Whale a chapter on ‘Political Prose ‘ of the period, the reader is referred to those chapters for books containing relevant general discussions. Michael Rossington ‘s and Jennifer Breen ‘s chapters make it unnecessary for me to talk in much specific detail about issues to do with the Romantic poetic canon or the impact of feminism on our reading of Romantic poetry, though both topics are mentioned in ensuing pages.
Percy Bysshe Shelley
Authors: Hogle Jerrold E
Published: November 2023

To turn to the history of scholarly work on Shelley is to confront a succession of fervid disagreements, sometimes wildly divergent interpretations of his works, and sudden changes of opinion about him in short spans of time. These conflicts, for the most part, point to the very different assumptions by which he and his writing have often been perceived. The reactions of contemporaries to what he actually published from 1810 to 1821, given his unmistakable political and anti-orthodox stances, vary across a wide continuum depending on each reviewer ‘s social and religious affiliations, as we can see in what is reprinted from those years in White (1938), Hayden, Reiman (1972), Red path, and Barcus. Moreover, the rehabilitation of both his personal reputation and the aims of his writing after his sudden death have been heavily determined, though there have been exceptions, by where his interpreters have placed themselves between those who would turn him into the ethereal ‘pure poet ‘ safe for developing middle-class tastes (including Mary Shelley, the first of his posthumous editors) and those who would retain him as a voice for radical social reform (from Horace Smith to Bernard Shaw).
Mary Wollstonecraft Shelley
Authors: Clemit Pamela
Published: November 2023

Mary Wollstonecraft Shelley has long been celebrated and patronized as the author of Frankenstein; or, The Modern Prometheus (1818), a work which has been canonized on university and sixth-form courses, studied exhaustively by scholars of different critical persuasions, and travestied by film-makers. Yet relatively few readers of Frankenstein realize that Mary Shelley also wrote five other novels, one novella, two mythological verse dramas, dozens of tales, stories, essays, and reviews, two books of travel writings, and two sets of notes to her editions of P. B. Shelley ‘s works. However, the situation is changing. In the late 1980s, authoritative editions of her letters and journals appeared, which shed new light on her thirty-year career as a professional writer. More recently, the first scholarly edition of her novels and selected writings has been published, and this provides the basis for a critical reassessment of Mary Shelley as a major nineteenth-century writer. The beginnings of this reassessment are already apparent in recent criticism, which has moved beyond Frankenstein. Thus, as well as reviewing the most important developments in Frankenstein criticism, this survey will evaluate newer and more wide-ranging work.
Essayists of the Romantic Period (De Quincey, Hazlitt, Hunt, and Lamb)
Authors: Morrison Robert
Published: November 2023

Woodring ‘s anthology is the most complete, and features the work of nearly thirty Romantic prose writers, including long sections by De Quincey, Hazlitt, Hunt, and Lamb; Bromwich ‘s anthology contains key essays in literary criticism by these four, as well as essays by Wordsworth, Peacock, and Shelley: The Houtchens and Houtchens volume is still valuable for its comprehensive chapters on all four essayists, as well as on other prose writers such as Southey and Landor. Ireland ‘s book is long since out of date bibliographically, but contains long and useful compilations of contemporary assessments of the ‘char-acter, genius, and writings ‘ of Hazlitt, Hunt, and Lamb.
Political Prose of the Romantic Period
Authors: Whale John
Published: November 2023

The writings dealt with in this section are too multifarious to be easily defined by the word ‘political ‘; they should not be neatly separated according to generic boundaries such as ‘prose ‘ or ‘non-fictional prose ‘. To define the writers in this section against the ‘essayists ‘ dealt with earlier in the volume runs the risk of aestheticizing the work of liberals and polite radicals such as Hunt and Hazlitt. Taking Lamb, Hazlitt, and Hunt out of the political equation also means, of course, that the remaining figures-such as Burke, Paine, and Cobbett-lose by the arrangement. Most of the writers referred to here would not have recognized a perspective which could so easily separate the literary and the political. This is not to suggest that there were not very particular and meaningful distinctions to be made between different forms and kinds of writing in the period, but that the differences do not exhibit a clear-cut separation between what is ‘political ‘ and what is not. In the 1790s, middle-class writers self-consciously exploited a variety of kinds of writing in order to contribute to a highly politicized cultural debate. Wollstonecraft and Godwin, for example, wrote novels in conjunction with polemical journalism and political treatises; Cobbett and Paine each worked in a variety of genres stretching from history through to practical manuals. And a good case could be made out for Coleridge as the most rhetorically various political prose writer of this period, but for reasons of genre as well as canon he does not figure here. Recent critical methodologies have also taught us to be suspicious of such simple separations. Many of the most exciting recent critical and historiographical developments in this area have shown the benefits which come from treating such materials discursively. Only then can the rich heterogeneous nature as well as the historical significance of prose writing in this period be properly appreciated.
Television in Greater China: Structure, Exports, and Market Formation
Authors: Chan Joseph Man
Published: November 2023

The term ‘Greater China’ has been gaining currency in scholarship and popular publications in the 1990s. In spite of its growing popularity, there is a lack of consensus as to what it represents. Harding (1993) has identified three dimensions by which Greater China is conceptualized. First, it denotes the economic integration between China, Hong Kong, and Taiwan. Secondly, it refers to the cultural exchanges amongst people of Chinese descent around the world. Thirdly, it refers to the possible re-establishment of a single Chinese state, reuniting the now politically fragmented territories. Each of the three themes--economic integration, cultural interaction, and political reunification-has different boundaries, different capitals or centres of activity, and takes different institutional forms. This article regards Greater China as the economic, political, and cultural space defined by the interactions between its three primary constituent parts-Hong Kong, Taiwan, and the People’s Republic or mainland China. The analysis of television in Greater China inevitably criss-crosses from one realm to another as television is dualistic in nature, possessing the properties of both commodity and culture, within a political context.
The Signs of Stage and Screen (1987)
Authors: Esslin Martin
Published: November 2023

Martin Esslin (b. 1918 in Vienna) has throughout his life combined a practical involvement in drama with a critical and theoretical interest in different aspects of the subject. He read English and Philosophy at the University of Vienna and trained as a director at the Reinhardt Seminar of Dramatic Art. Having fled to England from Nazism, he joined the BBC in 1940 as a producer and scriptwriter; from 1963 to 1977 he served as Head of Radio Drama. He was awarded the OBE in 1972. Changing to a teaching career, he was the Professor of Drama at Stanford University, California, from 1977 till 1988. Professor Esslin has written extensively on various aspects of modern drama, notably on Brecht, Pinter, Beckett, and Artaud.
The Clerk’s Tale
Authors: Cooper Helen
Published: November 2023

This passage functions very much as a prologue rather than a link. It offers no connection with any preceding tale, and by the time it finishes, the Clerk is already paraphrasing from the ‘prohemye’ to Petrarch’s tale of Griseldis. Even the Host’s plea to him not to talk in ‘heigh style’ may show Chaucer already at work on Petrarch, as his manuscript seems to have contained a reference to the stilo alto in which the work is written (as the Clerk notes at 41; Petrarch in fact wrote ‘stilo alio’, meaning a different language, Latin rather than Italian). The Host’s opening comparison of the Clerk to a new bride both recalls the commonplace comparison of the ideal clerk with a maiden, and glances forward to the content of the tale to come. So too does the Clerk’s response to the reminder that he has agreed to take part in the ‘play’ of the storytelling:
The Physician’s Tale
Authors: Cooper Helen
Published: November 2023

The story of the girl killed by her father to save her from the sexual attentions of an unjust judge bears some resemblances to Chaucer’s collection of stories of distressed, abandoned, and damaged women, the Legend of Good Women. It is possible that this Tale dates from the same period, the 1380s, and therefore may antedate the conception of the Canterbury Tales. There is, however, no independent evidence to support or disprove such a dating. Since Chaucer’s sister-in-law was both the mistress of John of Gaunt and the governess to his daughters, it is hard to believe that the lines on guardianship at the start of the Tale were written entirely ingenuously; but if Chaucer wrote them with any more specific topical reference in mind, the sentiments are too generalized to enable it to be recovered.
The Shipman’s Tale
Authors: Cooper Helen
Published: November 2023

The use of ‘we’ and ‘us’, and the oral delivery assumed by the narrator—‘but herkneth to my tale’ (23/1213)—indicate clearly that the Tale was written specifically for the Canterbury Tales, but the attribution of the story to the Shipman almost certainly represents second thoughts on Chaucer’s part. He seems originally to have intended it for the Wife of Bath: the opening twenty lines and the final couplet contain several first-person pronouns referring to wives in general, very much in the manner of those found in the present Wife’s Tale (III(D) 929-50) and Prologue.
The Prioress’s Tale
Authors: Cooper Helen
Published: November 2023

The dating of the Prioress’s Tale and its Prologue is an open question, but they were probably written as a single unit specifically for the Canterbury Tales. Some critics have read the tale as a satire on the Prioress, and therefore written with her in mind, but it is not so different from other Miracles of the Virgin (except in poetic quality) as to rule out independent composition.
The Nun’s Priest’s Tale
Authors: Cooper Helen
Published: November 2023

The link between the Monk’s and Nun’s Priest’s Tales exists in two forms. The shorter of these has the Host, not the Knight, interrupt the Monk; it omits lines 2771-90 (3961-80), passing straight from the idea of a little ‘hevynesse’ being enough for most people to there being no ‘desport ne game’ in such dreary stuff. In the longer version, the Knight does the interrupting on the grounds of his aversion to literary falls, and the Host chips in with his disparaging comments on the final lines of the Croesus legend and the ‘peyne’ of the whole series of tragedies.
Imitations of the Canterbury Tales 1400–1615
Authors: Cooper Helen
Published: November 2023

The Parson’s Tale and Retractions may imply closure, but the Canterbury Tales is an unfinished work, and a work, moreover, that is effectively a compilatio a collection to which other items can be added. In the course of the two centuries after Chaucer’s death, a number of writers responded to Chaucer’s work by providing endings to unfinished tales, or by producing further Canterbury tales of their own, sometimes as additions to the sequence, sometimes as autonomous imitations. In addition, a number of the individual tales were reworked in various forms, including several dramatic versions to provide food for the insatiable appetites of Elizabethan theatregoers.
Elizabethan Reading
Authors: Miola Robert S
Published: November 2023

The temptation has proven irresistible: people have always imagined that Shakespeare’s poetry and drama arose not from his reading but from his life. The sonnets, accordingly, recount actual passions and aspirations; the tragedies reflect some personal catastrophe, perhaps the death of Shakespeare’s only son Hamnet in 1596 at the age of n. This desire to see the life behind the art motivates the recent film, Shakespeare in Love, wherein Gwyneth Paltrow’s captivating Viola de Lesseps inspires the smitten poet to write Romeo and Juliet, and then, as she sails out of his life, Twelfth Night. Revealing more about their inventors and audiences than about Shakespeare, such delightful fantasies have no basis in fact.’
Histories
Authors: Miola Robert S
Published: November 2023

In order to write his plays about English history Shakespeare turned to contemporary history books, called chronicles, particularly those by Edward Hall and Raphael Holinshed. Recounting the past sequentially, these books discussed politics, weather, local events, disasters, and marvellous occurrences like the birth of a baby with two heads. The chronicle accounts of kings, queens, rebellions, battles, wars, councils, and the like entertained as well as informed; they provided a long-running series on the lives of the rich and famous, who happened also to be the royal, the powerful, the good, and the evil.
Romances
Authors: Miola Robert S
Published: November 2023

Towards the end of his career Shakespeare began to write a different kind of play. Pericles (1607), The Winter’s Tale (1609), Cymbeline (1610), The Tempest (16n), and The Two Noble Kinsmen (1613-14) recount marvellous adventures-voyages, shipwrecks, riddles and prophecies, the loss of spouses or children, supernatural apparitions, magic, and miraculous reunions. Called romances or tragicomedies, these plays usually start with a fatal error, crime, or misfortune, move through purgative suffering and repentance, and conclude with some sort of deliverance and restoration. Ben Jonson sneered at such works, ‘tales, tempests, and such like drolleries’. So did George Bernard Shaw, who recalled Morton’s ridicule of the standard romance recognition by means of a token or birthmark: ‘In Morton’s masterpiece, Box and Cox, Box asks Cox whether he has a strawberry mark on his left arm. “No,” says Cox. “Then you are my long-lost brother,” says Box as they fall into one another’s arms and end the farce happily.’
The Genres Staged
Authors: Danson Lawrence
Published: November 2023

WE know what the genres looked like to one theoretically inclined playwright: on Ben Jonson’s title-page, Comedy and Tragedy stand decorously apart, in their assigned places, paired with their adjuncts, pastoral poetry and satire. What would the genres look-and sound like, not frozen on the expensive and exclusive page, but on the popular and often rowdy stage? One answer is found in the induction-a dramatized introduction-to a play called A Warning for Fair Women, performed by Shakespeare’s company, the Lord Chamberlain’s Men, in 1599.
Tragedy
Authors: Danson Lawrence
Published: November 2023

‘BoY KILLED IN TRAGEDY’, the headline reads, and I buy the paper, expecting to find the review of a play. To my disappointment I find that the story has nothing to do with plays or genres. Instead it’s a report about a little boy whose bike veered into the path of a passing bus. The child died instantly. And even I, despite my reprehensibly narrow interests, get the point.
14 February 1838, John Forster on W. C. Macready as King Lear at the Theatre Royal, Covent Garden, London from The Examiner, 14 February, reprinted in Dramatic Essays by John Forster, George Henry Lewes, ed. William Archer and Robert W. Lowe (1896), PP· 48-54.
Authors: Shakespeare Critics Theatre
Published: November 2023

John Forster (1812-76) was theatre critic of The Examiner from 1833 to 1838, and later became its editor. He was a close friend of Charles Dickens, to whom this review has often been mistakenly attributed (for example, by Edgar and Eleanor Johnson in their The Dickens Theatrical Reader (1964), J. C. Trewin, in his Theatre Bedside Book (1974), and Gamini Salgado in Eyewitnesses of Shakespeare (1975) ). John Forster’s authorship is conclusively demonstrated in an article by W. J. Carlton, The Dickensian, September 1965, who shows that Forster copied into it long passages from two earlier reviews of King Lear which he had published in the Weekly True Sun, 26 January 1834, of an actor called Samuel Butler as Lear, and in the New Monthly Magazine, June 1834, of Macready’s first London performances as Lear, at Drury Lane and Covent Garden.
5 February 1898, St John Hankin (1869-1909) on Beerbohm Tree’s Julius Caesar, in The Academy, no. 1344, pp. 160-1, reprinted in Shakespearean Criticism, vol. 17, ed. Sandra Williamson (Detroit, Gale Research, 1992), pp. 308. 10
Authors: Shakespeare Critics Theatre
Published: November 2023

M.R. Tree’S julius Caesar’ is a triumph of actor-management. It is also, in my humble opinion, a grievous insult to Shakespeare. Shakespeare wrote a play of which the central character was an idealised Brutus. It was the story of how a nobleminded Roman, partly from a traditional worship of ‘Liberty,’ partly through being worked upon by astute plotters like Cassius, took the life of Julius Caesar. How for a few hours it looked as if all were going well with him and his fellow¬conspirators, until the fiery Antony, by a successful appeal to the greed of the mob, turned the tables on them so that they fled from Rome, only to fall at Philippi under the avenging swords of Antony and Caesar’s nephew Octavius.
1January 1922, Harley Granville-Barker (1877-1946) on Twe!fth Night directed by Jacques Copeau (1879-1949) at the Vieux Colombier, Paris, from The Observer .
Authors: Shakespeare Critics Theatre
Published: November 2023

It is very cheering to an Englishman to see a crowded French audience carried away in spontaneous enjoyment of a Shakespeare play.
[1962], Laurence Kitchin on Peter Brook’s production of King Lear, with Paul Scofield (born 1922) as Lear, at the Royal Shakespeare Theatre, Stratford-upon-Avon, from his Drama in the Sixties (1966), pp. 174-7.
Authors: Shakespeare Critics Theatre
Published: November 2023

For opposite reasons, Lear is as difficult to cast as Juliet. The actress young enough to look right for her earlier scenes can rarely project the suffering met with later.
I May 1964, Ronald Bryden (born 1927) on Laurence Olivier as Othello at the Old Vic Theatre, London, from the Nevo Statesman, in his The Unfinished Hero and Other Essays (1969), pp. 21-3.
Authors: Shakespeare Critics Theatre
Published: November 2023

All posterity will want to know is how he played. John Dexters1 National Theatre Othello is efficient and clear, if slow, and contains some intelligent minor novelties. But in the long run all that matters is that it left the stage as bare as possible for its athlete. What requires record is how he, tackling Burbage s2 role for the first time at 57, created the Moor. He came on smelling a rose, laughing softly with a private delight; barefooted, ankleted, black. He had chosen to play a Negro.
[1973], Peter Thomson (born 1938) on Richard II directed by John Barton (born 1928) at the Royal Shakespeare Theatre, Stratford-upon-Avon, from Shakespeare Survey 27 (1974), pp. 151-4.
Authors: Shakespeare Critics Theatre
Published: November 2023

It would be easy to make John Barton s production of Richard II sound gimmicky and gratuitously theatrical, merely by listing some of its ingredients. The designers, Timothy O’Brien1 and Tazeena Firth,2 had flanked the central acting area with two escalators joined by a bridge which could ride noiselessly up and down them—a piece of refined visible mechanism that would have made Piscator3 jealous, and could carry Richard down to the base court like glistering Phaethon on the Victoria Line. For their fight, Mowbray and Bolingbroke had been provided with elaborate hobby-horses similar to those used for The Chances4 during Chichester’s opening season.
[1976], Roger Warren (born 1943) on Macbeth, directed by Trevor Nunn at The Other Place, Stratford-upon-Avon, with Ian McKellen and Judi Dench, from Shakespeare Survey 30 (1977), PP-z77-8-
Authors: Shakespeare Critics Theatre
Published: November 2023

Trevor Nunn’s Macbeth at the Other Place (the RSC’s studio theatre) was the best example of the company’s developing work on a single play. Mr Nunn’s elaborate version at Stratford in 1974... was drastically simplified for the Aldwych in 1975; it had been further refined for the small confines of the Other Place, where it was played within a black magic circle painted on the floor, outside which the cast sat on boxes until needed; and, as at the Aldwych, there was no interval, which helped prevent the second half from winding down.
[1985], Roger Warren on Howard Davies s production of Troilus and Cressida at the Royal Shakespeare Theatre, Stratford-upon-Avon, from Shakespeare Quarterly, yj (1986), pp. 116-18.
Authors: Shakespeare Critics Theatre
Published: November 2023

Howard Davies’s1 production of Troilus and Cressida took place during the Crimean War. A war-shattered nineteenth-century interior was the setting throughout, with heavy Victorian furniture added to suggest the different locations. The Greek council became a war cabinet meeting around a long table. The Myrmidons’ mess was a smoky, seedy saloon bar. The Trojan council took place amid the silver and cut glass of a family dining room; Cassandra was a family embarrassment, the mad sister whose remarks were tolerated but could be safely disregarded.
[1987], Stanley Wells on Titus Andronicus, directed by Deborah Warner (born 1959) at the Swan Theatre, Stratford-upon-Avon, from Shakespeare Survey 41 (1989), pp. 178-81.
Authors: Shakespeare Critics Theatre
Published: November 2023

Deborah Warner’s1 Titus Andronicus, in the Swan Theatre at Stratford-upon-Avon, offered no theatrical glamour, none of the allurements of pageantry or of sumptuous costumes with which directors have sometimes sugared what they have obviously regarded as a bitter pill of a play.
3 October 1990, Paul Taylor (born 1955) on The Tempest^ directed by Peter Brook; from The Independent.
Authors: Shakespeare Critics Theatre
Published: November 2023

The bleeping of digital watches is a common enough curse in theatres, but during the press night for Peter Brooks production of La Tempete, the competition came from an actual alarm clock. It was the kind that climbs into a peevish apoplexy unless instantly humoured and, as its owner scrabbled desperately in his/her bag, ones annoyance slowly turned to sweating compassion.
Shakespeare Criticism in the Twentieth Century
Authors: Taylor Michael
Published: November 2023

Oxford Shakespeare Topics (General Editors Peter Holland and Stanley Wells) provide students, teachers, and interested readers with short books on important aspects of Shakespeare criticism and scholarship, including some general anthologies relating to Shakespeare. Shakespeare Criticism in the Twentieth Century traces the reception of Shakespeare in the critical literature from the end of Victorianism to the present day. It charts a course through the turbulent waters of the twentieth century's intense and prolific engagement with Shakespeare, dramatist and poet. This is not an exhaustive history: its aim is to describe the place of the major Shakespeare critics in the schools and movements of their times. Following an introductory overview of the major trends in Shakespeare criticism in their embattled state in the twentieth century, later chapters take up the various strands of this criticism in a more expansive manner. While recognizing that these strands work from genuine differences of principle and methodology, Taylor points out connections, parallels, and echoes between and among the critical approaches. The book ranges widely across the plays and poems, and canvasses all stages of Shakespeare's career.
Introduction
Authors: Taylor Michael
Published: November 2023

The springboard for much twentieth-century Shakespeare criticism in all its sparkling variousness and speculative daring has to be the late nineteenth-century investment in scholarly apparatuses of various kinds: libraries, editions of Shakespeare, dictionaries, concordances, data banks, scholarly societies, bibliographies, checklists, and so on. This was the age of Grammar and Lexicography, the golden age of the philologist and the academic editor, described by M. C. Bradbrook as ‘the Industrial Revolution of Shakespearian studies … the generation that constituted scholarship on a professional scale; the age of the “Variorum Shakespeare”, a monument that time has to some extent surprised’ (1954: 1). Equally monumental, and to a similar extent equally surprised by time, were the great dictionaries of the last three decades of the nineteenth century: among them, and centrally, A New Engfoh Dictionary on Historical Principles (1888-1928) from Oxford, Joseph V./right’s English Dialfft Dictionary (1890-1904), and Farmer and Henley’s Slang and Its Analogues Past and Present (1890).
The Age of Bradley
Authors: Taylor Michael
Published: November 2023

And a woman too of course. Despite what Heather Dubrow says about the study of character in Shakespeare’s plays-’character has virtually become a dirty word, quite as taboo in many circles as frank glosses on Shakespeare’s sexual wordplay were to an earlier generation of editors’ (r98T 17)-the fictional hearts and minds of Shakespeare’s characters (and the even more fictive heart and mind of Shakespeare himself) continue to exert a fascination on theatre-goers, readers, and sophisticated critics alike. ‘The age of Bradley’, then-manifested most triumphantly in the first two or three decades of the twentieth century-in its insistence on the special value of character criticism as a means of understanding Shakespeare’s plays, constitutes in all probability one of those eternal moments in criticism that will survive the predations of its competitors. At all events, there is a critical consensus in this century on the contribution that Shakespeare made to the thickening of dramatic characterization whether we read his characters ‘as rhetorical constructs confined to the text or as mimetic representations of imagined persons’ (Dubrow I99T 30).
Formalist Criticism of Shakespeare
Authors: Taylor Michael
Published: November 2023

If close readings of Shakespeare’s works certainly did not begin in 1997 a case can be made for pushing back their time of origin to a date well before the twentieth century. A glance at the Variorum edition of any of Shakespeare’s plays reveals the extent to which editors from the eighteenth century onwards have grappled with the meanings of words. How words work, how they mean, is a syntagmatic (and paradigmatic) process and dealing with them in their contexts is the basic act of formalist criticism. Immediacy is of course variable, and it may well be the case that the broadening and multiplying of Shakespeare’s contexts while remaining ostensibly within the parameters of the works themselves is one of the twentieth century’s main contributions to the formalist criticism of Shakespeare. Now it is commonplace for critics to deal with all kinds of structural combinations of Shakespeare’s words, from those that make up images, couplets, asides, rhetorical patterns (such as isocolon and anaphora),’ soliloquies, and sequences, to those forming larger structural units, the scene, the act, the entire play, or all of the plays thought of as one capacious, allinclusive work. And then, spilling over the confining parameters of the works themselves, formalist criticism has to deal somehow with the formal groupings that make up the plays’ genres.
The Wandering Text Situating the Narratives of Isabel Allende
Authors: Frenk Susan
Published: November 2023

Negotiating a path through the critical geographies which have mapped the academic reception of the narratives and public personae of Isabel Allende is a disorienting experience indeed. For all their differences, however, most of these geographies participate in a general deterritorialization as they steer her texts down unmarked roads. This essay offers a reading of the faded signposts and diversion signs along the way, with a tentative sketch for an alternative journey.
Scribes and Scholars
Authors: Reynolds L D , Wilson N G
Published: November 2023

As we said in the preface to the first edition, this book is designed as a simple introduction for beginners to a field of classical studies which generally remains little known or understood despite its importance and intrinsic interest. In schools and universities students read Greek and Lado authors in editions equipped with an apparatus criticus, but they are too often unacquainted with the historical facts which make such an apparatus necessary, and are at a loss to evaluate the information that it gives. There are few works in English to which they can be referred, and a short guide is needed, especially one which can be read by those whose linguistic and historical knowledge is limited.

We have attempted to outline the processes by which Greek and Latin literature have been preserved, describing the dangers to which texts were exposed in the age of the manuscript book, and showing to what extent ancient and medieval readers or scholars were concerned to preserve or transmit classical texts. The history of texts cannot be separated from the history of education and scholarship, which also bulk large in these pages. On the other hand, matters of pure palaeography receive attention only if they are of direct importance for transmission.

The book is intended in the first place for students of Greek and Latin, but the theme handled is so inextricably connected with the cultural history of the Middle Ages and Renaissance that we think our account may be useful to anyone concerned with these periods. We also hope that students of biblical scholarship may find some thing of interest.

Whereas the first edition took the story no further than the Renaissance and lacked notes, the second was enlarged in both these respects. In order not to encumber a readable text with a heavy apparatus we put the notes at the end of the book and made them largely bibliographical. The new chapter had to be even more selective than the others, but it seemed worth the effort to complete the historical perspective.
Antiquity
Authors: Reynolds L D , Wilson N G
Published: November 2023

A description of the processes by which classical literature has been transmitted from the ancient world to the present day may conveniently begin with a brief outline of the origin and growth of trade in books. In archaic Greece literature preceded literacy. The nucleus of the Homeric poems was handed down through several centuries during which the use of writing appears to have been completely lost; and in the second half of the eighth century, when the Phoenician alphabet was adapted for the writing of Greek, the tradition of oral literary composition was still strong, with the result that it may not have been thought necessary to commit the Homeric poems to writing at once. According to a tradition frequently repeated in an tiquity the first written text of the epics was prepared at Athens in the middle of the sixth century by order of Pisistratus. This account is not above suspicion, and even if true would not prove that copies of the text of Homer began to circulate in any considerable numbers, for Pisistratus’ object was in all probability to ensure the existence of an official copy of the poems to be recited at the festival of the Pan athenaea.
Peace
Authors: MacDowell Douglas M
Published: November 2023

The war had been in progress since 43 1 B c , but by the spring of 42 1 peace was imminent. Thucydides analyses the reasons (5. 14-1 7). The Athenians, who had been confident of total victory after their success at Pylos in 425, then suffered defeats at Delion in 424 and at Amphipolis in 42 2 . So they were now less sure that they could win the war and began to think it would be better to make terms with Sparta, for fear that the allied cities in their Empire might revolt and join forces with Sparta against them. The Spartans, for their part, had suffered an unexpected disaster at Pylos and were afraid of a possible revolt by the helots. They were also aware that their thirty-year treaty with Argos was about to run out, and did not relish the prospect of fighting Athens and Argos simultaneously.
Women at the Thesmophoria
Authors: MacDowell Douglas M
Published: November 2023

Women at the Thesmophoria, in Greek Thesmophoriazousai, is one of the least political plays, even though it was produced at a time of political upheaval and uncertainty. In the summer of 41 1 unrest and dissatisfaction with the conduct of the war against Sparta led to a revolution in which democracy was abandoned. For a few months it was replaced by the oppressive regime of the Four Hundred, and then by the more moderate one of Five Thousand; the traditional democratic constitution was restored in 41 o. It is not absolutely certain at what date in this period Women at the Thesmophoria was performed. No hypothesis or scholium gives the date. Some scholars have assigned it to 41 o, in the time of the Five Thousand, but it is now generally agreed that it belongs to the Dionysia of 411. It refers (804) to the defeat of an Athenian naval force commanded by Kharminos, which occurred in the winter of 41 2 / 11, but not to anything which can certainly be dated later; a comment about Councillors handing over their function (8o8-9) probably refers not to the establishment of the Four Hundred in the summer of 4 1 1 , but simply to the Council’s annual change of membership. It also refers (1060) to Euripides’ Andromeda as having been performed ‘last year’, and a scholiast (on Frogs 53) says that Andromeda was produced in the eighth year before Frogs; reckoned inclusively, the eighth year before 406 / S is 41 3 / 1 2.
Politics in the era of Depretis and Crispi, 1870–96
Authors: Duggan Christopher
Published: November 2023

On 20 September 1870 Italian troops breached the walls of Rome and entered the Eternal City. It was hardly a very glorious affair. There was some fighting; and there were casualties; but it was not the heroic inauguration of the Third Rome-the Rome of ‘the people’ and of the ‘national principle’-that Mazzini and his followers had dreamed of. There was no popular rising in the city; and no great feat of arms on the battlefield. Indeed it was only because the French emperor, Napoleon III, had had to withdraw his garrison of troops from the city earlier in the summer with the outbreak of the Franco-Prussian war, and then been roundly defeated and forced to abdicate after Sedan, that the Italian government had felt able to risk taking Rome at all.
The Constitution of the Fourth Republic
Authors: Larkin Maurice
Published: November 2023

AFTER the social ‘New Deal’ of the CNR charter, there still remained the fundamental matter of the constitutional framework for post-war France. The charter was understandably imprecise in its constitutional demands, given the need for relative unity and the genuine uncertainty as to what type of constitution would gain acceptance at the Liberation. But it emphasized the need for a ‘democracy combining effective control exercised by popular representatives with continuity of action in government’. In other words, there was to be no sinking back into the old habits of the Third Republic with its unstable ministries and inability to pursue vigorous policies. And it was assumed that the constitution of the Third Republic would have to be changed accordingly. Unfortunately, the suppression of democratic liberties and institutions during the Occupation intensified traditional suspicions of anything suggesting a strong executive; and the desire to safeguard democracy was to blind many politicians to the equal need for effective government. There was consequently little enthusiasm on the Left for the semi-presidential schemes favoured by a sizeable section of the Gaullists.
Italy and the world since 1945
Authors: Harper John L
Published: November 2023

Italy did not cease to have a foreign policy after 1945, as is sometimes claimed. Indeed post-war foreign policy contains striking continuities with the past: the search for security and independence through a friendly connection with the dominant Mediterranean power (call it ‘realism’); the impulse to go it alone in pursuit of national interests narrowly defined, and of an autonomous mission (call it ‘particularism’); above all, the desire to take part in a larger political and economic project (call it ‘Europeanism’ or ‘universalism’).
A Box with No Sides?
Authors: Le Poidevin Robin
Published: November 2023

In May 1643, the French philosopher and one-time soldier Rene Descartes (1596-1650) began a long correspondence with Princess Elizabeth of Bohemia. In her first letter, of 6 May, Elizabeth asked him how, if the soul and the body were so different in their natures, the soul could influence the actions of the body.
Does Time Pass?
Authors: Le Poidevin Robin
Published: November 2023

If one had to pick out the two most characteristic features of time, features which clearly mark its distinctness from space, one would probably cite, first, the fact that time passes, and secondly, the fact that the present is in some sense unique. These two features are closely related. For one indication of time’s passing, indeed what perhaps it means to say that time passes, is that what time it is now is constantly changing. Watching the second hand flying around the dock face, one is acutely aware of successive times becoming present.
Other Times and Spaces
Authors: Le Poidevin Robin
Published: November 2023

You are presented with a large urn containing, you are told, 100 table tennis balls. Removing one of these balls you discover, much to your surprise, that one of them has your name on it. Can you conclude anything about the rest of the balls in the urn? Precisely 100 hypo theses fit the rather limited data, ranging from the hypothesis that only one ball has your name on it (this being the one you happened to pick out) to the hypothesis that all the balls have your name on them. Clearly, you would be unwise to come to any fixed conclusion at this stage, for any of these hypotheses could be true. But are they equally likely? The probability of your picking out a ball with your name on it depends on the proportion of such balls in the um. So, were there just one ball with your name on it, the probability of your.
Introduction
Authors: Swinburne Richard
Published: November 2023

Are there good reasons for believing that there is a God? I have argued elsewhere, and especially in my book Is There a God? , that the general character of the natural world (and in particular the fact that it is governed by laws of nature which lead to the evolution of human beings) makes it probable that there is a God. But why should we suppose that God (if there is a God) is the Christian God? I plan to answer that question in this book and to show that, if there is a God, then the main doctrines which the Christian Church teaches about God, the doctrines which are special to Christianity and distinguish it from other religions which also claim that there is a God, are very probably true.
The Life and Death of Jesus
Authors: Swinburne Richard
Published: November 2023

It follows from the arguments of Part I that, if there is a God, we would find among us at some stage of history a prophet who lives a life in which there is much suffering, who would claim to be God incarnate, and would found a Church to continue to proclaim that message. It would also be quite probable that the prophet ‘s life would be a perfect life, he would claim to be making available atonement for our sins, and give us plausible teaching (as a revelation from God) about the nature of God, how we should live our lives, and God ‘s plans for our future; and if he did all this, the Church would give us plausible interpretations of that teaching.