LEADER 01361nam--2200421---450- 001 990000478260203316 005 20120918105203.0 010 $a0-8240-9416-6 035 $a0047826 035 $aUSA010047826 035 $a(ALEPH)000047826USA01 035 $a0047826 100 $a20010529d1986----km-y0itay0103----ba 101 $aeng 102 $aUS 105 $a||||||||001yy 200 1 $a<> poetry of Guido Cavalcanti$fedited and traslated by Lowry Nelson jr. 210 $aNew York$cgarland$d1986 215 $aLXIII, 128 p.$c4 p. di tav., ill.$d23 cm 225 2 $aGarland library of medieval literature$v18 410 $12001$aGarland library of medieval literature$v18 676 $a851.1 700 1$aCAVALCANTI,$bGuido$f$0319826 702 1$aNELSON,$bLowry jr. 801 0$aIT$bsalbc$gISBD 912 $a990000478260203316 951 $aVI.3.B. 826(II i B 677)$b102760 LM$cII i B 959 $aBK 969 $aUMA 979 $aPATTY$b90$c20010529$lUSA01$h1234 979 $c20020403$lUSA01$h1656 979 $aPATRY$b90$c20040406$lUSA01$h1633 979 $aCOPAT3$b90$c20050725$lUSA01$h1332 979 $aPASSARO$b90$c20120918$lUSA01$h1050 979 $aPASSARO$b90$c20120918$lUSA01$h1050 979 $aPASSARO$b90$c20120918$lUSA01$h1052 996 $aPoetry of Guido Cavalcanti$9479241 997 $aUNISA LEADER 05362nam 22005895 450 001 9910972364203321 005 20240501151642.0 024 7 $a10.12987/9780300225662 035 $a(CKB)3710000000918286 035 $a(MiAaPQ)EBC4728130 035 $a(StDuBDS)EDZ0001661673 035 $a(DE-B1597)486087 035 $a(OCoLC)1059275615 035 $a(DE-B1597)9780300225662 035 $a(PPN)252902815 035 $a(Perlego)1089008 035 $a(EXLCZ)993710000000918286 100 $a20190920d2017 fg 101 0 $aeng 135 $aurcnu|||||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aHow Shakespeare Put Politics on the Stage $ePower and Succession in the History Plays /$fPeter Lake 205 $a1st ed. 210 1$aNew Haven, CT : $cYale University Press, $d[2017] 210 4$d©2017 215 $a1 online resource (683 pages) 300 $aPreviously issued in print: 2017. 311 08$a9780300222715 311 08$a0300222718 311 08$a9780300225662 311 08$a0300225660 320 $aIncludes bibliographical references and index. 327 $tFrontmatter -- $tContents -- $tIntroduction and acknowledgements -- $tPART II: Past into present and future: 2 and 3 Henry VI and the politics of lost legitimacy -- $tCHAPTER 1: Losing legitimacy: monarchical weakness and the descent into disorder -- $tCHAPTER 2: Disorder dissected (i): the inversion of the gender order -- $tCHAPTER 3: Disorder dissected (ii): the inversion of the social order -- $tCHAPTER 4: Hereditary 'right' and political legitimacy anatomised -- $tPART III: Happy endings and alternative outcomes: 1 Henry VI and Richard III -- $tCHAPTER 5: How not to go there: 1 Henry VI as prequel and alternative ending -- $tCHAPTER 6: Richard III: political ends, providential means -- $tCHAPTER 7: Going Roman: Richard III and Titus Andronicus compared -- $tPART IV: How (not) to depose a tyrant: King John and Richard II -- $tCHAPTER 8: The Elizabethan resonances of the reign of King John -- $tCHAPTER 9: The first time as polemic, the second time as play: Shakespeare's King John and The troublesome reign -- $tCHAPTER 10: Richard II, or the rights and wrongs of resistance -- $tCHAPTER 11: Shakespeare and Parsons - again -- $tPart V: The Essexian circle squared, or a user's guide to the politics of popularity, honour and legitimacy -- $tCHAPTER 12: The loss of legitimacy and the politics of commodity dissected -- $tCHAPTER 13: Learning to be a bastard: Hal's second (plebeian) nature -- $tCHAPTER 14: Festive Falstaff: of popularity, puritans and princes -- $tCHAPTER 15: Henry V and the fruits of legitimacy -- $tPART VI :Using plays to read plays: the court politics of the dramatic riposte -- $tCHAPTER 16: Contemporary readings: Oldcastle/Falstaff, Cobham/Essex -- $tCHAPTER 17: Oldcastle redivivus -- $tPART VII: Julius Caesar: the dangers of playing pagan and republican politics in a Christian monarchy -- $tCHAPTER 18: The state we're in -- $tCHAPTER 19: The politics of honour (in a popular state) -- $tCHAPTER 20: Performing honour and the politics of popularity (in a popular state) -- $tCHAPTER 21: The politics of popularity and faction (in a popular state) -- $tCHAPTER 22: The politics of prodigy, prophecy and providence (in a pagan state) -- $tCHAPTER 23: Between Henry V and Hamlet -- $tPART VIII: Disillusion: Christian and pagan style -- $tCHAPTER 24: Hamlet -- $tCHAPTER 25: The morning after the night before: Troilus and Cressida as retrospect -- $tConclusion -- $tNotes -- $tIndex 330 $aA masterful, highly engaging analysis of how Shakespeare's plays intersected with the politics and culture of Elizabethan England   With an ageing, childless monarch, lingering divisions due to the Reformation, and the threat of foreign enemies, Shakespeare's England was fraught with unparalleled anxiety and complicated problems. In this monumental work, Peter Lake reveals, more than any previous critic, the extent to which Shakespeare's plays speak to the depth and sophistication of Elizabethan political culture and the Elizabethan imagination. Lake reveals the complex ways in which Shakespeare's major plays engaged with the events of his day, particularly regarding the uncertain royal succession, theological and doctrinal debates, and virtue and virtù in politics. Through his plays, Lake demonstrates, Shakespeare was boldly in conversation with his audience about a range of contemporary issues. This remarkable literary and historical analysis pulls the curtain back on what Shakespeare was really telling his audience and what his plays tell us today about the times in which they were written.  410 0$aUniversity press scholarship online. 606 $aHistorical drama, English$xHistory and criticism 606 $aLiterature and history 606 $aPolitics in literature 615 0$aHistorical drama, English$xHistory and criticism. 615 0$aLiterature and history. 615 0$aPolitics in literature. 676 $a822.33 686 $aHIS015000$aLIT015000$aHIS037090$aPOL010000$2bisacsh 700 $aLake$b Peter, $0400326 801 0$bDE-B1597 801 1$bDE-B1597 906 $aBOOK 912 $a9910972364203321 996 $aHow Shakespeare Put Politics on the Stage$94357332 997 $aUNINA LEADER 01255nam0 22003253i 450 001 MIL0242585 005 20251003044229.0 010 $a020163337X 100 $a20080325d1994 ||||0itac50 ba 101 | $aeng 102 $aus 181 1$6z01$ai $bxxxe 182 1$6z01$an 200 1 $aTcl and the Tk toolkit$fJohn K. 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