The Oxfordian Vol. 19

Author: Chris Pannell

Publisher: Createspace Independent Publishing Platform

ISBN: 9781976584367

Category:

Page: 238

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The Oxfordian is an annual journal published during the fall by the Shakespeare Oxford Fellowship. Articles provide in-depth coverage of issues of importance to Shakespeare scholars. The Oxfordian, published since 1998, is "the best American academic journal covering the authorship question," according to William Niederkorn, formerly of The New York Times. Volume 19, edited by Chris Pannell, was published in October 2017. Articles included are: 1. "'Small Latine and Lesse Greeke': Anatomy of a Misquotation (Part One)" by Roger Stritmatter; 2. "Macbeth: A Language-Obsessed, Heretical Play" by Sky Gilbert; 3. "Sufficient Warrant: Censorship, Punishment, and Shakespeare in Early Modern England" by Bonner Miller Cutting; 4. "Methinks the Man: Peter Brook and the Authorship Question" by Don Rubin; 5. "Othello and the Green-Eyed Monster of Jealousy" by Richard M. Waugaman; 6. "The Mystery of Willy: Oxford, Spenser, and Theocritus' Sixe Idillia" by Richard Malim; 7. "Shakespeare: A Missing Author" by J. Thomas Looney (Introduction by James Warren); 8. "Who was James Joyce's Shakespeare?" by Gary Goldstein; 9. "In Conversation with Hank Whittemore" (100 Reasons Shake-speare was the Earl of Oxford). Reviews by Michael Dudley, Gary Goldstein, Shelly Maycock (The OUP Shakespeare Authorship Companion), David Haskins (The Shakespeare Authorship Mystery Explained), Sky Gilbert (Shakespeare The Man), Richard M. Waugaman (Shakespeare and Psychoanalytic Theory), and Wally Hurst (Reconstructing Contexts: Principles of Archaeo-Historicism)

The Dark Side Of Shakespeare

An Elizabethan Courtier, Diplomat, Spymaster, & Epic Hero

Author: W. Ron Hess

Publisher: iUniverse

ISBN: 0595293905

Category: History

Page: 676

View: 5636

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The "Dark Side of Shakespeare" trilogy by W. Ron Hess has been his 20-year undertaking to try to fill-in many of the gaps in knowledge of Shakespeare's personality and times. The first two volumes investigated wide-ranging topics, including the key intellectual attributes that Shakespeare exhibited in his works, including the social and political events of the 1570s to early-1600s. This was when Hess believes the Bard's works were being "originated" (the earliest phases of artistry, from conception or inspiration to the first of multiple iterations of "writing"). Hess highlights a peculiar fascination that the Bard had with the half-brother of Spain's Philip II, the heroic Don Juan of Austria, or in 1571 "the Victor of Lepanto." From that fascination, as determined by characters based on Don Juan in the plays (e.g., the villain "Don John" in "Much Ado")and other matters, Hess even made so bold as to propose a series of phases from the mid-1570s to mid-80s in which he feels each Shakespeare play had been originated, or some early form of each play then existed -- if not in writing, at least in the Bard's imagination. Thus, the creative process Hess describes is a vastly more protracted on than most Shakespeare scholars would admit to -- the absurd notion that the Bard would jot off the lines of a work in a few days or weeks and then immediately have it performed on the public stage or published shortly thereafter still dominates orthodox dating systems for the canon. Hess draws on the works of many other scholars for using "topical allusions" within each work in order to set practical limits for when the "origination" and subsequent "alterations" of each play occurred. In the trilogy's Volume III, Hess continues to amplify a heroic "knight-errant" personality type that Shakespeare's very "pen-name" may have been drawn from, a type which envied and transcended the brutal chivalry of Don Juan. This was channeled into a patriotic anti-Spanish and pro-British imperial spirit -- particularly with regard to reforming and improving the English language so that it could rival the Greco-Roman, Italian, and Frenchpoetic traditions -- one-upping the best that the greats of antiquity and the Renaissance had achieved in literature. In fact, as vast as the story is that Hess tells in his three volumes, there is a huge volume of material he is making available out of print (on his webpage at http://home.earthlink.net/~beornshall/index.html and via a "Volume IV" that he plans to offer on CD for a nominal cost via his e-mail [email protected]). Among this added material is a searchable 1,000-page Chronological listing of "Everything" that Hess deems relevant to Shakespeare and his age, or to the providing of the canon to modern times. Hess feels that discernable patterns can be detected through that chronology that help to illuminate the roles of others in the Bard's circle, such as Anthony Munday and Thomas Heywood. The network of 16th and 17th century "Stationers" (printers, publishers, and book sellers) and their often curious doings provide many of those patterns. Hess invites his readers to help to continuously update the Chronology and other materials, so that those can remain worthwhile research resources for all to use. For, the mysteries of Shakespeare and his age can only be unraveled through fully understanding the patterns within.

MALICE AFORETHOUGHT

THE KILLING OF A UNIQUE GENIUS

Author: Paul Hemenway Altrocchi, MD

Publisher: Xlibris Corporation

ISBN: 1462810918

Category: Art

Page: 395

View: 507

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Malice Aforethought is the story of murder-one—the premeditated, cold-blooded killing and obliteration of the name and life-story of the world’s greatest writing genius, William Shakespeare. This shameful tale has finally been unraveled, slowly but inexorably, piece by dramatic piece, during the last century. Whom did Shakespeare offend so grievously that he had to be eradicated forever from the rolls of life? Or was he only embroiled in high-stakes drama and malevolence by ill-fortune? Using well-known sleuthing techniques, the Great Shakespeare Hoax has been solved, the true genius identified and the diabolical perpetrators revealed. Their disgraceful deception, coerced on a gullible world, has been eminently successful for four centuries but no longer. The dastardly deed of filching and squelching Shakespeare’s name, the immediate jewel of his soul, was a wanton act of assassination with malice aforethought, malum in se, malevolent by its very nature. The despicable act was motivated solely for reasons of endless appetite for power and wealth by individuals at the highest level of English government. Remarkably, a cover-up of the truth still continues today in the United States and England.

Integrated Stratigraphy of the Oxfordian and Kimmeridgian (Late Jurassic) in northern Switzerland and adjacent southern Germany

Author: Reinhart A. Gygi

Publisher: Birkhäuser

ISBN: 3034877781

Category: Science

Page: 152

View: 2542

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1. 1 Geographical and 1. 2 Previous work palaeogeographical setting Stratigraphic exploration of the Swiss Jura range began before The measuring of detailed sections and the excavation of fossils 1820. MERIAN (1821) described the Jurassic sediments in the ar were done in an area which is confined to the west by a line be ea of Basel for the first time and gave a short and appropriate tween Boncourt in Canton Jura and Biel in Canton Bern description of the principal lithostratigraphic units. Merian (fig. 1). The belt of outcrops becomes narrower towards the east was aware that fossils were a means for correlation, but he stated and then runs northeast from Canton Aargau to Mohringen on that fossils were not known well enough at the time for this the Danube river in southern Germany. This whole area is purpose. Therefore he correlated strictly lithostratigraphically. where the Burgundy platform (PuRSER 1979) interfingers with He correlated the marls of the Biirschwil Formation of the early sediments of the rhodano-swabian epicontinental sea which and middle Oxfordian in the central Jura with the marls of the was situated adjacent to northern Tethys (fig. 63). The whole Effingen Member of the middle and late Oxfordian in the east area was transformed into an epicontinental sea (fig. 2) by the ern Jura range (fig. 3)."

Wonder of Our Stage

Author: Paul Hemenway Altrocchi, MD

Publisher: iUniverse

ISBN: 1491736704

Category: Literary Criticism

Page: 452

View: 1070

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Few are aware that the actual identity of William Shakespeare, a pseudonym, represents our culture's greatest literary mystery. Even fewer realize that William Shaksper of Stratford-on-Avon, the person annointed by most Professors of English as the Great Playwright, was an uneducated, illiterate businessman who never wrote a single word of prose or poetry. In fact, Will Shakspere was the front man of a conspiracy perpetrated by England's leading politician, Robert Cecil, who, for reasons of greed and power, forced Edward de Vere, 17th Earl of Oxford?the true genius playwright?into anonymity. The astonishing power of Conventional Wisdom has kept the ruse going since the early 1600s. Outstanding authorship research in the past century, however, has shown convincingly that de Vere was indeed Shakespeare. The best of that research is now assembled in the present anthology series, ?Building the Case for Edward de Vere as Shakespeare.? It's an exciting story, dramatically presenting powerful evidence of murder?of the name of the world's greatest writing genius, Edward de Vere?and substituting a fraudulent impostor.

William Stanley as Shakespeare

Evidence of Authorship by the Sixth Earl of Derby

Author: John M. Rollett

Publisher: McFarland

ISBN: 147661900X

Category: Literary Criticism

Page: 212

View: 304

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Presenting striking new evidence, this book shows that “William Shakespeare” was the pen name of William Stanley, son of the Earl of Derby. Born in 1561, he was educated at Oxford, travelled for three years abroad, and studied law in London, mixing with poets and playwrights. In 1592 Spenser recorded that Stanley had written several plays. In 1594 he unexpectedly inherited the earldom—hence the pen name. He became a Knight of the Garter in 1601, eligible to help bear the canopy over King James at his coronation, likely prompting Sonnet 125’s “Wer’t ought to me I bore the canopy?”—he is the only authorship candidate ever in a position to “bear the canopy” (which was only ever borne over royalty). Love’s Labour’s Lost parodies an obscure poem by Stanley’s tutor, which few others would have read. Hamlet’s situation closely mirrors Stanley’s in 1602. His name is concealed in the list of actors’ names in the First Folio. His writing habits match Shakespeare’s as deduced from the early printed plays. He was a patron of players who performed several times at court, and financed the troupe known as Paul’s Boys. No other member of the upper class was so thoroughly immersed in the theatrical world.




Bulletin

Author: Makhon ha-geʾologi (Israel)

Publisher: N.A

ISBN: N.A

Category: Geology

Page: N.A

View: 9387

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De Vere as Shakespeare

An Oxfordian Reading of the Canon

Author: William Farina

Publisher: McFarland

ISBN: 9780786483433

Category: Literary Criticism

Page: 280

View: 2144

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The question may be met with chagrin by traditionalists, but the identity of the Bard is not definitely decided. During the 20th century, Edward de Vere, the most flamboyant of the courtier poets, a man of the theater and literary patron, became the leading candidate for an alternative Shakespeare. This text presents the controversial argument for de Vere’s authorship of the plays and poems attributed to Shakespeare, offering the available historical evidence and moreover the literary evidence to be found within the works. Divided into sections on the comedies and romances, the histories and the tragedies and poems, this fresh study closely analyzes each of the 39 plays and the sonnets in light of the Oxfordian authorship theory. The vagaries surrounding Shakespeare, including the lack of information about him during his lifetime, especially relating to the “lost years” of 1585–1592, are also analyzed, to further the question of Shakespeare’s true identity and the theory of de Vere as the real Bard.


Der leere Raum

The Empty Space

Author: Peter Brook

Publisher: Alexander Verlag Berlin

ISBN: 3895814156

Category: Performing Arts

Page: 200

View: 1986

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Der leere Raum ist der Klassiker unter den Büchern zum Theater. Es basiert auf vier Vorlesungen, die Peter Brook unter dem Titel The Empty Space: The Theater Today in den sechziger Jahren an den Universitäten von Hull, Keele, Manchester und Sheffield hielt. 1968 erschienen diese Gedanken zum Gegenwartstheater in Buchform. Nachdem der Band für längere Zeit vergriffen war, machte ihn der Alexander Verlag 1983 wieder greifbar für das deutsche Publikum. Brook unterteilt das Theater in vier verschiedene Formen: Das konventionelle Theater definiert er als "tödlich", das an Ritualen festhaltende Theater als das "heilige", das leicht verständliche, volksnahe Theater als "derbes" und das von ihm favorisierte als "unmittelbares Theater".