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The core of the ground-breaking, three text edition, this self-contained, free-standing volume gives readers the Second Quarto text (1604-5) and includes in its Introduction, notes and Appendices all the reader might expect to find in any standard Arden edition. As well as a full, illustrated Introduction to the play's historical, cultural and performance contexts and a thorough survey of critical approaches to the play, an appendix contains the additional passages found only in the 1623 text.""The new Arden Hamlet is a pathbreaking edition, one that promises to change irrevocably our understanding of Shakespeare's greatest play.""- Professor James Shapiro, author of 1599: A Year in the Life of William Shakespeare'Hamlet's latest editors have undertaken a heroic task with great skill and thoroughnesss.' - Stanley Wells, The Observer""(The) new Arden Hamlet is quite simply the most comprehensive edition of the play currently available, a status I suspect it will enjoy for many years to come"" - The British Theatre Guide""Stunning! There is absolutely no doubt about this being the text to buy if you are studying the play at A Level. And the same stands for those students who will be studying the play at university. This critical edition gives the reader the Second Quarto Text (1604-1605), annotated with intelligence and care, a wealth of historical and cultural references and a survey of different critical approaches to the play.""- The Use of English, The English Association

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Covers all aspects of the Grade 8 Theory of Music exam. Gives detailed advice on ways in which the examination questions might be approached, including worked examples of some typical examination questions, and a set of exercises is provided for each kind of question. Covers both pre-20th-century and 20th-century styles.

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David Scott Kastan lucidly explores the remarkable richness and the ambitious design of King Henry IV Part 1 and shows how these complicate any easy sense of what kind of play it is. Conventionally regarded as a history play, much of it is in fact conspicuously invented fiction, and Kastan argues that the non-historical, comic plot does not simply parody the historical action but by its existence raises questions about the very nature of history. The full and engaging introduction devotes extensive discussion to the play's language, indicating how its insistent economic vocabulary provides texture for the social concerns of the play and focuses attention on the central relationship between value and political authority.

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covers all aspects of the Grade 7 Theory of Music exam. Deals with harmonic vocabulary, dissonance treatment and part-writing in Baroque music, and melodic composition. Text includes worked examples of some typical examination questions, and a set of exercises is provided for each kind of question. Covers both pre-20th-century and 20th-century styles.

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Builds on work covered in the first five volumes of Music Theory in Practice, looking further into the workings of tonal harmony and introducing students to melodic composition outside the tonal system. Covers all aspects of the Grade 6 Theory of Music exam. Deals with the realisation of figured basses for keyboard and for voices in four parts, harmonisation of tonal melodies and melodic composition, both tonal and in more modern styles. Covers both pre-20th-century and 20th-century styles.

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Richard III is one of the great Shakespearean characters and roles. James R Siemon examines the attraction of this villain to audiences and focuses on how beguiling, even funny, he can be, especially in the earlier parts of the play. Siemon also places King Richard III in its historical context; as Elizabeth I had no heirs the issue of succession was a very real one for Shakespeare's audience. The introduction is well-illustrated and provides a comprehensive account of the play and of critical approaches to it. The edition also provides a clear and authoritative playtext, edited to the most rigorous standards of scholarship, with detailed notes and commentary on the same page. With a wealth of helpful and incisive commentary the Arden Shakespeare is the finest edition of Shakespeare you can find, giving a deeper understanding and appreciation of his work.

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The authoritative edition Loves Labors Lost from The Folger Shakespeare Library, the trusted and widely used Shakespeare series for students and general readers.

At first glance, Shakespeares early comedy Loves Labors Lost simply entertains and amuses. Four young men (one of them a king) withdraw from the world for three years, taking an oath that they will have nothing to do with women. The King of Navarre soon learns, however, that the Princess of France and her ladies are about to arrive. Although he lodges them outside of his court, all four men fall in love with the ladies, abandoning their oaths and setting out to win their hands.

The laughter triggered by this story is augmented by subplots involving a braggart soldier, a clever page, illiterate servants, a parson, a schoolmaster, and a constable so dull that he is named Dull. Letters and poems are misdelivered, confessions are overheard, entertainments are presented, and language is played with, and misused, by the ignorant and learned alike.

At a deeper level, Loves Labors Lost also teases the mind. The men begin with the premise that women either are seductresses or goddesses. The play soon makes it clear, however, that the reality of male-female relations is different. That women are not identical to mens images of them is a common theme in Shakespeares plays. In Loves Labors Lost it receives one of its most pressing examinations.

This edition includes:
-Freshly edited text based on the best early printed version of the play
-Full explanatory notes conveniently placed on pages facing the text of the play
-Scene-by-scene plot summaries
-A key to the plays famous lines and phrases
-An introduction to reading Shakespeares language
-An essay by a leading Shakespeare scholar providing a modern perspective on the play
-Fresh images from the Folger Shakespeare Librarys vast holdings of rare books
-An annotated guide to further reading

Essay by William C. Carroll

The Folger Shakespeare Library in Washington, DC, is home to the worlds largest collection of Shakespeares printed works, and a magnet for Shakespeare scholars from around the globe. In addition to exhibitions open to the public throughout the year, the Folger offers a full calendar of performances and programs. For more information, visit Folger.edu.

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The Tempest has long dazzled readers and audiences with its intricate blend of magic, music, humour, intrigue and tenderness, its vibrant but ambiguous central characters. As Virginia and Alden Vaughan show, in their wide-ranging new edition of this established favourite, such antithetical extremes exemplify the play's endlessly arguable nature, its appeal to diverse eras and cultures.The Vaughans situate The Tempest at the centre of changing cultural attitudes towards colonialism, power politics and patriarchal hierarchies, and demonstrate how the play both shaped and reflected those changing attitudes. Informed by the concerns of a post-colonial international community, their edition emphasizes the play's world-wide cultural appropriation, and includes an extensive discussion of the play's after-life as well as an appendix of selected appropriations. The interdisciplinary editorial approach contributes a distinctively blended cultural and historical focus.'The Vaughans have provided a valuable new edition of the play, one whose expanded contextualisation, especially, will contribute to The Tempest's lively and varied afterlife both within and beyond the classroom.' Barbara Fuchs, University of Washington, Seattle, Shakespeare Quarterly

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The Collected Poems of Jamaica's Poet Laureate (2017-2020). Lorna Goodison is a poet alive to places, from the loved and lived-in world of Jamaica where she began and started a family, to the United States and Canada where she has made her teaching career, but always re-connecting with her Caribbean roots. She travels with an ear alert to histories and voices. How differently English sounds in the tropics and in colder lands, at seaside in sunlight and on prairies, mountains and in cities. The same words say quite different things, depending on who speaks them and who's listening, obeying or resisting.She covers a wide range of subjects and themes, too. Her instinct is to celebrate being alive in a world that is rich but in peril. 'And what is the rare quality that has gone out of poetry that these marvellous poems restore?' asks Derek Walcott. 'Joy.' The 'mango of poetry', eaten straight from the tree, Goodison somehow finds growing in Wordsworth country and in Sligo, in Russia and Norway, in Spain and Portugal which spilled their empires into the Caribbean, in Cape Town and Far Rockaway.

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Lorna Goodison was born in Jamaica, and has won numerous awards for her writing in both poetry and prose, including the Commonwealth Poetry Prize, the Musgrave Gold Medal from Jamaica, the Henry Russel Award for Exceptional Creative Work from the University of Michigan, and one of Canada's largest literary prizes, the British Columbia National Award for Canadian Non-Fiction for From Harvey River: A Memoir of My Mother and Her People (2007). Her work has been included in the major anthologies and collections of contemporary poetry over the past twenty-five years, such as the Norton Anthology of Modern and Contemporary Poetry, the HarperCollins World Reader, the Vintage Book of Contemporary World Poetry, the Norton Anthology of World Masterpieces, and Longman Masters of British Literature. Along with her award winning memoir, she has published three collections of short stories (including By Love Possessed, 2011) and nine collections of poetry. Her work has been translated into many languages, and she has been a central figure at literary festivals throughout the world. Lorna Goodison teaches at the University of Michigan, where she is the Lemuel A. Johnson Professor of English and African and Afroamerican Studies. Lorna Goodison was appointed Poet Laureate of Jamaica on 17 May 2017 and will serve until 2020.