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– tekijä: William Shakespeare

Muut tekijät: Katso muut tekijät -osio.

JäseniäKirja-arvostelujaSuosituimmuussijaKeskimääräinen arvioMaininnat
7,26975927 (3.74)271
The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. This is the third New Cambridge edition of The Taming of the Shrew, one of Shakespeare's most popular yet controversial plays. Ann Thompson considers its reception in the light of the hostility and embarrassment that the play often arouses, taking account of both scholarly defences and modern feminist criticism. For this version the editor pays lively attention to the problematic nature of debates about the play and its reception in the twenty-first century. She discusses recent editions and textual, performance and critical studies.… (lisätietoja)
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englanti (67)  hollanti (2)  espanja (2)  ruotsi (1)  ranska (1)  katalaani (1)  arabia (1)  Kaikki kielet (75)
Näyttää 1-5 (yhteensä 75) (seuraava | näytä kaikki)
Hilarious -- excited to see a production. ( )
  poirotketchup | Mar 18, 2021 |
Definitely not one of my favorites ( )
  RuaBeansidhe | Jan 12, 2021 |
As always, a great edition from the Arden publishers. ( )
  therebelprince | Nov 15, 2020 |
H1.31.4
  David.llib.cat | Oct 15, 2020 |
There was a reason why I chose not to post that many updates with this play. Because they all would have included some F bombs. This play is super messed up and I cannot believe that anyone watches this and thinks, hey this is funny and so romantic. It is not.

Well something nice first. I am very happy that I had the Folger's version which included notes on what certain words or phrases meant, and an explanation prior to certain scenes to explain them to me.

Now onto something not so nice.

This whole freaking play is just awful. I think that Shakespeare was going for comedy and wow. This whole thing fell flat. I wonder how women in the audiences felt while watching this play within a play? I loved Romeo and Juliet. And then we have The Taming of the Shrew which would be classified as a romantic comedy and I am just shaking my head.

The play begins with a drunken man named Christopher who the other "actors" are trying to convince that he is actually a lord. He is told to sit and watch and then the second play begins which is "The Taming of the Shrew". No I don't get how these two plays are related to each other and I don't care at this point. I just want to finish this review.

From there we focus on Baptista Minola's family. Baptista has two daughters. The oldest named Katherina (or Katherine or Kate depending on who is speaking to or about her) and his youngest Bianca.

Katherine is the heralded shrew of the play. She is not like other women and doesn't simper and tell men how nice and strong they are, instead she is quite sharp with men who she feels act like fools. And oh by the way she also verbally and physically abuses her younger sister Bianca. So right away I was not a fan of Katherine. I don't care about her not adhering to social norms by being a smiling simpering young thing, but it never made much sense to have her being awful towards her sister.

Because Bianca is womanhood personified (eye-roll) she ends up having three men vying to marry her.

Baptista tells her potential suitors that Bianca cannot marry before her elder sister (I guess this was a thing, I don't know and I refuse to look it up) and two of the suitors, Hortensio and Gremio make plans in order to get Katherine married off one of them can gain Bianca's hand.

The third suitor Lucentio, falls in love with Bianca at first sight and decides to pretend to be a tutor when he overhears Baptista shouting loudly that he is on the lookout for tutors for his daughters. Then Lucentio gets his servant Tranio to pretend to be him. There is a lot of people running around pretending to be someone else. I am so glad for the Folger's version it is not even funny.

Then we get another man thrown into the mix named Petruchio who knows Hortensio. Hortensio asks Petruchio to get Katherine to wed because he (Petruchio) decides that he now wants to wed since his father is dead and hey it be super fun to have some woman who would do whatever he says.

Petruchio thinks that Katherine sounds like the girl for him and also to pretending that Hortensio is a music tutor to Baptista so that he can also gain entry into the household in order to woo Bianca.

There are way too many people in disguises at this point to keep straight, once again thank you Folger's version.

When Petruchio gets introduced to Katherine comedy ensues (vomit). He decides to use reverse psychology by acting super awful towards her and acts as if what he is doing and saying is actually good and sweet in order to get Katherine to act proper. Yeah I don't know. Just go with it.

Katherine keeps refusing him and he just bowls over her the entire time. Heck even Baptista thinks this is a bad idea after a while since Petruchio seems to be mad. Eventually Petruchio gets his way, and steals Katherine away after they are married and he acts like an ass during the entire ceremony and at the dinner. Afterwards at his home he proceeds to starve Katherine.

God I hate everyone. Just everyone at this point.

By pretending that everything he is offering is not good enough for Katherine he once again has her agreeing with anything he says in order to just be fed and clothed. The servants even get in on this at this point.

And back to the sister who I don't care about at all at this point, and yes this whole thing is a spoiler because why subject other people to this hot mess of a play, Bianca through a lot of hocus pocus mess chooses Luciento. Blah blah blah we have these two hiding the truth from Bianca's father for reasons (I seriously don't care) and now Hortensio is mad because he can't believe that Bianca is throwing in with a servant at this point (because he still thinks Luciento is a servant since Luciento has not revealed his identity) and he decides to run off to marry some random woman that's rich. I think. I don't know. I can't drink at work. I really want a drink.

Whatever. Whatever. I am almost done.

Eventually Katherine is tamed. Cause that's what happens when you are starved and have some damn man you married against your will playing psychological games with you.

All is revealed and Bianca's father is happy that she made a good match and that Katherine is married. Eventually the two sisters and Hortensio and his wife (yeah he got married too, no I refuse to explain how or to who, who cares) and the three men sit around talking shit about Katherine. Or excuse me, the two men while her husband boasts that his wife is tamed and a more obedient wife than the two of them.

The men wage a bet that whatever servant gets his wife to come to the room first wins. Katherine because she has been turned into a woman that always thinks of her husband first comes without delay while the other two wives ignore their summons. Petruchio wins the bet and then Katherine, (redacted) Katherine sits and lectures her sister and this other woman (I refuse to look up her name, I don't care) about how to be proper women and always obedient to their husbands.

So that's The Taming of the Shrew or how one man seriously messed up a strong and intelligent woman in order for his friend to try to win her sister's hand and that woman ended up choosing some other guy anyway. Oh did I mention throughout this play that Katherine kept being referred to as the devil's mother for her actions. Apparently according to Folger's being the devil's mother is actually worse than being the actual devil. Fuck no I don't get it and I am going to go and stare at cat gifs for a while. ( )
  ObsidianBlue | Jul 1, 2020 |
Näyttää 1-5 (yhteensä 75) (seuraava | näytä kaikki)
ei arvosteluja | lisää arvostelu

» Lisää muita tekijöitä (162 mahdollista)

Tekijän nimiRooliTekijän tyyppiKoskeeko teosta?Tila
William Shakespeareensisijainen tekijäkaikki painoksetcalculated
Baudissin, Wolf Heinrich GrafKääntäjämuu tekijäeräät painoksetvahvistettu
Bergin, Thomas GoddardToimittajamuu tekijäeräät painoksetvahvistettu
Bevington, David M.Toimittajamuu tekijäeräät painoksetvahvistettu
Díaz-Plaja, AuroraAdaptermuu tekijäeräät painoksetvahvistettu
Gollancz, IsrealEsipuhemuu tekijäeräät painoksetvahvistettu
Harrison, George BToimittajamuu tekijäeräät painoksetvahvistettu
Heilman, Robert BechtoldToimittajamuu tekijäeräät painoksetvahvistettu
Hodgdon, BarbaraToimittajamuu tekijäeräät painoksetvahvistettu
Jervis, Gerald C.Kääntäjämuu tekijäeräät painoksetvahvistettu
Kidnie, M.J.Toimittajamuu tekijäeräät painoksetvahvistettu
Oliver, Harold JamesToimittajamuu tekijäeräät painoksetvahvistettu
Papp, JosephEsipuhemuu tekijäeräät painoksetvahvistettu
Quiller-Couch, ArthurToimittajamuu tekijäeräät painoksetvahvistettu
Raffel, BurtonToimittajamuu tekijäeräät painoksetvahvistettu
Thompson, AnnToimittajamuu tekijäeräät painoksetvahvistettu
Webster, MargaretAvustajamuu tekijäeräät painoksetvahvistettu
Wright, Louis B.Toimittajamuu tekijäeräät painoksetvahvistettu

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Katso lisäohjeita Common Knowledge -sivuilta (englanniksi).
Kanoninen teoksen nimi
Alkuteoksen nimi
Teoksen muut nimet
Alkuperäinen julkaisuvuosi
Henkilöt/hahmot
Tiedot englanninkielisestä Yhteisestä tiedosta. Muokkaa kotoistaaksesi se omalle kielellesi.
Tärkeät paikat
Tiedot englanninkielisestä Yhteisestä tiedosta. Muokkaa kotoistaaksesi se omalle kielellesi.
Tärkeät tapahtumat
Kirjaan liittyvät elokuvat
Tiedot englanninkielisestä Yhteisestä tiedosta. Muokkaa kotoistaaksesi se omalle kielellesi.
Palkinnot ja kunnianosoitukset
Tiedot englanninkielisestä Yhteisestä tiedosta. Muokkaa kotoistaaksesi se omalle kielellesi.
Epigrafi (motto tai mietelause kirjan alussa)
Omistuskirjoitus
Ensimmäiset sanat
Tiedot englanninkielisestä Yhteisestä tiedosta. Muokkaa kotoistaaksesi se omalle kielellesi.
Tranio, since for the great desire I had
To see fair Padua, nursery of arts,
I am arrived for fruitful Lombardy,
The pleasant garden of great Italy;
And by my father's love and leave am arm'd
With his good will and thy good company,
My trusty servant, well approved in all,
Here let us breathe and haply institute
A course of learning and ingenious studies.
Sly. I’ll pheeze you, in faith.
Hostess. A pair of stocks, you rogue!
Sly. Y’are a baggage; the Slys are no rogues. Look in the
chronicles: we came in with Richard Conqueror.
Therefore, paucas pallabris; let the world slide. Sessa!
Sitaatit
Tiedot englanninkielisestä Yhteisestä tiedosta. Muokkaa kotoistaaksesi se omalle kielellesi.
He that runs fastest gets the ring.
Signior Hortensio, 'twixt such friends as we
Few words suffice; and therefore, if thou know
One rich enough to be Petruchio's wife,
As wealth is burden of my wooing dance,
Be she as foul as was Florentius' love,
As old as Sibyl and as curst and shrewd
As Socrates' Xanthippe, or a worse,
She moves me not, or not removes, at least,
Affection's edge in me, were she as rough
As are the swelling Adriatic seas:
I come to wive it wealthily in Padua;
If wealthily, then happily in Padua.
Think you a little din can daunt mine ears?
Have I not in my time heard lions roar?
Have I not heard the sea puff'd up with winds
Rage like an angry boar chafed with sweat?
Have I not heard great ordnance in the field,
And heaven's artillery thunder in the skies?
Have I not in a pitched battle heard
Loud 'larums, neighing steeds, and trumpets' clang?
And do you tell me of a woman's tongue,
That gives not half so great a blow to hear
As will a chestnut in a farmer's fire?
Tush, tush! fear boys with bugs.
Father, and wife, and gentlemen, adieu;
I will to Venice; Sunday comes apace:
We will have rings and things and fine array;
And kiss me, Kate, we will be married o'Sunday.
Why, Petruchio is coming in a new hat and an old
jerkin, a pair of old breeches thrice turned, a pair
of boots that have been candle-cases, one buckled,
another laced, an old rusty sword ta'en out of the
town-armory, with a broken hilt, and chapeless;
with two broken points: his horse hipped with an
old mothy saddle and stirrups of no kindred;
besides, possessed with the glanders and like to mose
in the chine; troubled with the lampass, infected
with the fashions, full of wingdalls, sped with
spavins, rayed with yellows, past cure of the fives,
stark spoiled with the staggers, begnawn with the
bots, swayed in the back and shoulder-shotten;
near-legged before and with, a half-chequed bit
and a head-stall of sheeps leather which, being
restrained to keep him from stumbling, hath been
often burst and now repaired with knots; one girth
six time pieced and a woman's crupper of velure,
which hath two letters for her name fairly set down
in studs, and here and there pieced with packthread.
Viimeiset sanat
Tiedot englanninkielisestä Yhteisestä tiedosta. Muokkaa kotoistaaksesi se omalle kielellesi.
(Napsauta nähdäksesi. Varoitus: voi sisältää juonipaljastuksia)
(Napsauta nähdäksesi. Varoitus: voi sisältää juonipaljastuksia)
Erotteluhuomautus
Julkaisutoimittajat
Tiedot englanninkielisestä Yhteisestä tiedosta. Muokkaa kotoistaaksesi se omalle kielellesi.
Kirjan kehujat
Alkuteoksen kieli
Tiedot englanninkielisestä Yhteisestä tiedosta. Muokkaa kotoistaaksesi se omalle kielellesi.
Canonical DDC/MDS
The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. This is the third New Cambridge edition of The Taming of the Shrew, one of Shakespeare's most popular yet controversial plays. Ann Thompson considers its reception in the light of the hostility and embarrassment that the play often arouses, taking account of both scholarly defences and modern feminist criticism. For this version the editor pays lively attention to the problematic nature of debates about the play and its reception in the twenty-first century. She discusses recent editions and textual, performance and critical studies.

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