[{"NUM":28,"bookMap":{"种次F":"","标准编码":"7-204-07715-6","可外借数":3,"上月外借册数":0,"去年外借册数":0,"封面":"","采编审核":0,"分类字符数据":"","全文服务器ID":0,"操作员":1,"索书号2":"","种次数据":"","内容介绍1":"","语种":"","本月外借册数":0,"排架号":"","库键码":1,"ILAS记录号":355875,"出版日期":"2004","已外借数":0,"COVERPATH":"http://img3.douban.com/lpic/s24396075.jpg","题名2":"莎士比亚戏剧集.V,悲剧","采编审核员":"","分类号":"","出版地":"呼和浩特","索书号":"I561.33/S28-10/5","价格":0,"索书号5":"","索书号6":"","种次字母":"","索书号3":"","责任者一":"","索书号4":"","索书号9":"","翻阅次数":0,"主键码":164186,"索书号7":"","索书号8":"","SUMMARYS":"《莎士比亚戏剧集(共8册)》：莎士比亚，英国诗人、戏剧家。1564年4月23日生于沃里克郡埃文河畔的斯特拉特福镇。其父约翰·莎士比亚经营羊毛、皮革制造及谷物生意，1565年任镇民政官，3年后被选为镇长。莎士比亚幼年在当地文法学校读书，1582年同邻乡农家女安·哈瑟维结婚。1585～1592年莎士比亚经历不详，传说他当过乡村教师、兵士、贵族家仆，并因偷猎乡绅T.路希爵士之鹿逃往伦敦，先在剧院门前为人看马，后逐渐成为剧院杂役、演员并开始剧作生涯。1592年，剧院经理P.亨斯娄首先提到莎士比亚的剧作《亨利六世》上篇。同年，剧作家R.格林在其《千悔得一智》中影射莎士比亚姓氏，并引用《亨利六世》下篇台词，骂莎士比亚是“一只暴发户式的乌鸦”，可见他当时已颇有名望。1594年，他和当时名演员W.坎普、J.伯比奇同属宫内大臣剧团，同当时新贵族骚桑普顿伯爵、埃塞克斯伯爵等均有来往。他的剧团除在天鹅剧场、环球剧场演出外，也到宫廷演出，夏季或瘟疫流行期间，则到外省演出。1596年，莎士比亚以其他名义申请到“绅士”称号及家徽，1597年在斯特拉特福购置了房产，1599年成为环球剧场拥有1／10股份的股东。1610年莎士比亚卖出了他的股份,回乡隐居。1616年4月23日在家乡病逝，葬于镇上的圣三一教堂。 莎士比亚在22或23年间共写了37部戏剧，其中只有16部在他生前以4开本盗印版出版。原因是因当时作家将剧本卖给剧团，剧团为垄断便不发表，被盗印的剧本则是由演员口授，或在演出时被人速记下来，故而版本多有遗漏和错误。1623年，莎士比亚去世7年后，曾与他在国王供奉剧团（前身即宫内大臣剧团）共事的演员海明和康德尔收集莎士比亚遗作36部（其中有20部是首次付印），出版了第一个莎士比亚戏剧集，即后人所谓第一对开本，其中的剧目不是按创作年代，而是按喜剧、历史剧和悲剧3类编排的。从18世纪后期开始学者们研究了莎剧的创作年代、分类和分期问题，但说法不一。一般来说，莎士比亚的戏剧创作可分以下3个时期： 第一时期（1590～1600）以写作历史剧、喜剧为主，有9部历史剧、10部喜剧和2部悲剧。9部历史剧中除《约翰王》是写13世纪初英国历史外，其他8部是内容相衔接的两个4部曲：《亨利六世》上 、中、下篇与《理查三世》；《理查二世》、《亨利四世》上、下篇与《亨利五世》。这些历史剧概括了英国历史上百余年间的动乱，塑造了一系列正、反面君主形象，反映了莎士比亚反对封建割据，拥护中央集权，谴责暴君暴政，要求开明君主进行自上而下改革，建立和谐社会关系的人文主义政治与道德理想。10部喜剧《错误的喜剧》、《驯悍记》、《维洛那二绅士》、《爱的徒劳》、《仲夏夜之梦》、《威尼斯商人》、《 温莎的风流娘儿们》、《无事生非》、《皆大欢喜》和《第十二夜》大都以爱情、友谊、婚姻为主题，主人公多是一些具有人文主义智慧与美德的青年男女，通过他们争取自由、幸福的斗争，歌颂进步、美好的新人新风，同时也温和地揭露和嘲讽旧事物的衰朽和丑恶，如禁欲主义的虚矫、清教徒的伪善和高利贷者的贪鄙等。莎士比亚这一时期戏剧创作的基本情调是乐观、明朗的，充满着以人文主义理想解决社会矛盾的信心，以致写在这一时期的悲剧《罗密欧与朱丽叶》中，也洋溢着喜剧气氛。尽管主人公殉情而死，但爱的理想战胜死亡，换来了封建世仇的和解。然而，这一时期较后的成熟喜剧《威尼斯商人》中，又带有忧郁色彩和悲剧因素，在鼓吹仁爱、友谊和真诚爱情的同时，反映了基督教社会中弱肉强食的阶级压迫、种族歧视问题，说明作者已逐渐意识到理想与现实之间存在着难以解决的矛盾。 第二时期（1601～1607）以悲剧为主，写了3部罗马剧、5部悲剧和3部“阴暗的喜剧”或“问题剧”。罗马剧《尤利乌斯·凯撒》、《安东尼和克莉奥佩特拉》和《科里奥拉努斯》是取材于普卢塔克《希腊罗马英雄传》的历史剧。四大悲剧《哈姆雷特》、《奥赛罗》、《李尔王》、《麦克白》和悲剧《雅典的泰门》标志着作者对时代、人生的深入思考，着力塑造了这样一些新时代的悲剧主人公：他们从中世纪的禁锢和蒙昧中醒来，在近代黎明照耀下，雄心勃勃地想要发展或完善自己，但又不能克服时代和自身的局限，终于在同环境和内心敌对势力的力量悬殊斗争中，遭到不可避免的失败和牺牲。哈姆雷特为报父仇而发现“整个时代脱榫”了，决定担起“重整乾坤”的责任，结果是空怀大志，无力回天。奥赛罗正直淳朴，相信人而又嫉恶如仇，在奸人摆布下杀妻自戕，为追求至善至美反遭恶报。李尔王在权势给他带来的尊荣、自豪、自信中迷失本性，丧失理智，幻想以让权分国来证明自己不当国王而做一个普通人，也能同样或更加伟大，因而经受了一番痛苦的磨难。麦克白本是有功的英雄，性格中有善和美的一面，只因王位的诱惑和野心的驱使，沦为“从血腥到血腥”、懊悔无及的罪人。这些人物的悲剧，深刻地揭示了在资本原始","今年外借册数":0,"编目审核员":"","调配时间":"","索书号A":"I561.33/S28-10/5","责任者三":"","责任者二":"","分类":"","编目审核":0,"预约数":0,"编目审核日期":"","封面地址":"","内容介绍":"","责任者四":"","文献类型":0,"图象页数":0,"责任者":"朱生豪译","版次":"","下载":0,"种次字符数据":"","分类数据":"","出版者2":"内蒙古人民出版社","MARC类型":"","封面服务器ID":0,"首馆键码":1,"索书号15":"","采编审核日期":"","索书号14":"","索书号13":"","索书号12":"","索书号11":"","责任者2":"朱生豪译","索书号10":"","全文地址":"","题名":"莎士比亚戏剧集V悲剧","翻译题名":"","处理日期":1216609360000,"分类字母":"","题名缩写":"SSBYXJJ.V,BJ","丛书名":"","册数":3,"索书号16":"","累计外借册数":62,"调配员":"","修改人员":1,"出版者":"内蒙古人民出版社","创建时间":"","卷标":"","种次":"","下载服务器ID":0,"下载地址":""},"ID":"7400d229090167ac0cc5e6b7ede71061"},{"NUM":17,"bookMap":{"种次F":"","标准编码":"7-204-07715-6","可外借数":3,"上月外借册数":0,"去年外借册数":0,"封面":"","采编审核":0,"分类字符数据":"","全文服务器ID":0,"操作员":1,"索书号2":"","种次数据":"","内容介绍1":"","语种":"","本月外借册数":0,"排架号":"","库键码":1,"ILAS记录号":354254,"出版日期":"2004","已外借数":0,"COVERPATH":"http://img7.doubanio.com/lpic/s24396075.jpg","题名2":"莎士比亚戏剧集.I,历史剧 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莎士比亚在22或23年间共写了37部戏剧，其中只有16部在他生前以4开本盗印版出版。原因是因当时作家将剧本卖给剧团，剧团为垄断便不发表，被盗印的剧本则是由演员口授，或在演出时被人速记下来，故而版本多有遗漏和错误。1623年，莎士比亚去世7年后，曾与他在国王供奉剧团（前身即宫内大臣剧团）共事的演员海明和康德尔收集莎士比亚遗作36部（其中有20部是首次付印），出版了第一个莎士比亚戏剧集，即后人所谓第一对开本，其中的剧目不是按创作年代，而是按喜剧、历史剧和悲剧3类编排的。从18世纪后期开始学者们研究了莎剧的创作年代、分类和分期问题，但说法不一。一般来说，莎士比亚的戏剧创作可分以下3个时期： 第一时期（1590～1600）以写作历史剧、喜剧为主，有9部历史剧、10部喜剧和2部悲剧。9部历史剧中除《约翰王》是写13世纪初英国历史外，其他8部是内容相衔接的两个4部曲：《亨利六世》上 、中、下篇与《理查三世》；《理查二世》、《亨利四世》上、下篇与《亨利五世》。这些历史剧概括了英国历史上百余年间的动乱，塑造了一系列正、反面君主形象，反映了莎士比亚反对封建割据，拥护中央集权，谴责暴君暴政，要求开明君主进行自上而下改革，建立和谐社会关系的人文主义政治与道德理想。10部喜剧《错误的喜剧》、《驯悍记》、《维洛那二绅士》、《爱的徒劳》、《仲夏夜之梦》、《威尼斯商人》、《 温莎的风流娘儿们》、《无事生非》、《皆大欢喜》和《第十二夜》大都以爱情、友谊、婚姻为主题，主人公多是一些具有人文主义智慧与美德的青年男女，通过他们争取自由、幸福的斗争，歌颂进步、美好的新人新风，同时也温和地揭露和嘲讽旧事物的衰朽和丑恶，如禁欲主义的虚矫、清教徒的伪善和高利贷者的贪鄙等。莎士比亚这一时期戏剧创作的基本情调是乐观、明朗的，充满着以人文主义理想解决社会矛盾的信心，以致写在这一时期的悲剧《罗密欧与朱丽叶》中，也洋溢着喜剧气氛。尽管主人公殉情而死，但爱的理想战胜死亡，换来了封建世仇的和解。然而，这一时期较后的成熟喜剧《威尼斯商人》中，又带有忧郁色彩和悲剧因素，在鼓吹仁爱、友谊和真诚爱情的同时，反映了基督教社会中弱肉强食的阶级压迫、种族歧视问题，说明作者已逐渐意识到理想与现实之间存在着难以解决的矛盾。 第二时期（1601～1607）以悲剧为主，写了3部罗马剧、5部悲剧和3部“阴暗的喜剧”或“问题剧”。罗马剧《尤利乌斯·凯撒》、《安东尼和克莉奥佩特拉》和《科里奥拉努斯》是取材于普卢塔克《希腊罗马英雄传》的历史剧。四大悲剧《哈姆雷特》、《奥赛罗》、《李尔王》、《麦克白》和悲剧《雅典的泰门》标志着作者对时代、人生的深入思考，着力塑造了这样一些新时代的悲剧主人公：他们从中世纪的禁锢和蒙昧中醒来，在近代黎明照耀下，雄心勃勃地想要发展或完善自己，但又不能克服时代和自身的局限，终于在同环境和内心敌对势力的力量悬殊斗争中，遭到不可避免的失败和牺牲。哈姆雷特为报父仇而发现“整个时代脱榫”了，决定担起“重整乾坤”的责任，结果是空怀大志，无力回天。奥赛罗正直淳朴，相信人而又嫉恶如仇，在奸人摆布下杀妻自戕，为追求至善至美反遭恶报。李尔王在权势给他带来的尊荣、自豪、自信中迷失本性，丧失理智，幻想以让权分国来证明自己不当国王而做一个普通人，也能同样或更加伟大，因而经受了一番痛苦的磨难。麦克白本是有功的英雄，性格中有善和美的一面，只因王位的诱惑和野心的驱使，沦为“从血腥到血腥”、懊悔无及的罪人。这些人物的悲剧，深刻地揭示了在资本原始","今年外借册数":0,"编目审核员":"","调配时间":"","索书号A":"I561.33/S28-10/1","责任者三":"","责任者二":"","分类":"","编目审核":0,"预约数":0,"编目审核日期":"","封面地址":"","内容介绍":"","责任者四":"","文献类型":0,"图象页数":0,"责任者":"朱生豪译","版次":"","下载":0,"种次字符数据":"","分类数据":"","出版者2":"内蒙古人民出版社","MARC类型":"","封面服务器ID":0,"首馆键码":1,"索书号15":"","采编审核日期":"","索书号14":"","索书号13":"","索书号12":"","索书号11":"","责任者2":"朱生豪译","索书号10":"","全文地址":"","题名":"莎士比亚戏剧集I历史剧","翻译题名":"","处理日期":1216609360000,"分类字母":"","题名缩写":"SSBYXJJ.I,LSJ 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莎士比亚在22或23年间共写了37部戏剧，其中只有16部在他生前以4开本盗印版出版。原因是因当时作家将剧本卖给剧团，剧团为垄断便不发表，被盗印的剧本则是由演员口授，或在演出时被人速记下来，故而版本多有遗漏和错误。1623年，莎士比亚去世7年后，曾与他在国王供奉剧团（前身即宫内大臣剧团）共事的演员海明和康德尔收集莎士比亚遗作36部（其中有20部是首次付印），出版了第一个莎士比亚戏剧集，即后人所谓第一对开本，其中的剧目不是按创作年代，而是按喜剧、历史剧和悲剧3类编排的。从18世纪后期开始学者们研究了莎剧的创作年代、分类和分期问题，但说法不一。一般来说，莎士比亚的戏剧创作可分以下3个时期： 第一时期（1590～1600）以写作历史剧、喜剧为主，有9部历史剧、10部喜剧和2部悲剧。9部历史剧中除《约翰王》是写13世纪初英国历史外，其他8部是内容相衔接的两个4部曲：《亨利六世》上 、中、下篇与《理查三世》；《理查二世》、《亨利四世》上、下篇与《亨利五世》。这些历史剧概括了英国历史上百余年间的动乱，塑造了一系列正、反面君主形象，反映了莎士比亚反对封建割据，拥护中央集权，谴责暴君暴政，要求开明君主进行自上而下改革，建立和谐社会关系的人文主义政治与道德理想。10部喜剧《错误的喜剧》、《驯悍记》、《维洛那二绅士》、《爱的徒劳》、《仲夏夜之梦》、《威尼斯商人》、《 温莎的风流娘儿们》、《无事生非》、《皆大欢喜》和《第十二夜》大都以爱情、友谊、婚姻为主题，主人公多是一些具有人文主义智慧与美德的青年男女，通过他们争取自由、幸福的斗争，歌颂进步、美好的新人新风，同时也温和地揭露和嘲讽旧事物的衰朽和丑恶，如禁欲主义的虚矫、清教徒的伪善和高利贷者的贪鄙等。莎士比亚这一时期戏剧创作的基本情调是乐观、明朗的，充满着以人文主义理想解决社会矛盾的信心，以致写在这一时期的悲剧《罗密欧与朱丽叶》中，也洋溢着喜剧气氛。尽管主人公殉情而死，但爱的理想战胜死亡，换来了封建世仇的和解。然而，这一时期较后的成熟喜剧《威尼斯商人》中，又带有忧郁色彩和悲剧因素，在鼓吹仁爱、友谊和真诚爱情的同时，反映了基督教社会中弱肉强食的阶级压迫、种族歧视问题，说明作者已逐渐意识到理想与现实之间存在着难以解决的矛盾。 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