'What is honour? A word. What is in that word 'honour'? What is that 'honour'? Air.' A history play that combines a coming-of-age narrative with a tale of power, rebellion, friendship, and betrayal, Henry IV, Part I has been a perennial favourite from Shakespeare's time to the present. What has ensured its popularity is above all the towering figure of Falstaff, Shakespeare's greatest comic creation. The ebullient, unabashedly pleasure-seeking and brilliantly witty character has proved as irresistible for audiences as he was for his protégé, Prince Hal. This introduction discusses their relationship within the framework of the play's historical, cultural, and performative setting. At the same time, it explores the question of why the play has proved so enduringly attractive to audiences today. The New Oxford Shakespeare offers authoritative editions of Shakespeare's works with introductory materials designed to encourage new interpretations of the plays and poems. Using the text from the landmark The New Oxford Shakespeare Complete Works: Modern Critical Edition, these volumes offer readers the latest thinking on the authentic texts (collated from all surviving original versions of Shakespeare's work) alongside innovative introductions from leading scholars. The texts are accompanied by a comprehensive set of critical apparatus to give readers the best resources to help understand and enjoy Shakespeare's work. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

Henry IV Part I: The New Oxford Shakespeare (Oxford World's Classics)

Literature & Fiction

Smith, Emma

Ghose, Indira

Shakespeare., William

Pruitt, Anna

Dramas & Plays

Oxford University Press

Drawing on long-neglected travel writings by British women in India, this study looks at different aspects that women focus on as opposed to men, particularly in their encounters with Indian women in the zenana. Located at the cross-roads of feminist theory and colonial discourse theory, the book examines the power relations inscribed into the traveller's gaze.

Women Travellers in Colonial India

History

Asia

Drawing on long-neglected travel writings by British women in India, this study looks at different aspects that women focus on as opposed to men, particularly in their encounters with Indian women in the zenana. Located at the cross-roads of feminist theory and colonial discourse theory, thebook examines the power relations inscribed into the traveller's gaze.

Classics

OUP India

Shakespeare in Jest draws fascinating parallels between Shakespeare's humour and contemporary humour. Indira Ghose argues that while many of Shakespeare's jokes no longer work for us, his humour was crucial in shaping comedy in today's entertainment industry. 
The book looks at a wide variety of plays and reads them in conjunction with examples from contemporary culture, from stand-up comedy to late night shows. Ghose shows the importance of jokes, the functions of which are remarkably similar in Shakespeare’s time and ours. Shakespeare's wittiest characters are mostly women, who use wit to puncture male pretensions and to acquire cultural capital. Clowns and wise fools use humour to mock their betters, while black humour trains the spotlight on the audience, exposing our collusion in the world it skewers. In a discussion of the ethics of humour, the book uncovers striking affinities between Puritan attacks on the theatre and contemporary attacks on comedy. 
An enjoyable and accessible read, this lively book will enlighten and entertain students, researchers, and general readers interested in Shakespeare, humour, and popular culture.

Shakespeare in Jest (Spotlight on Shakespeare)

Routledge

This book examines laughter in the Shakespearean theatre, in the context of a cultural history of early modern laughter. Aimed at an informed readership as well as graduate students and scholars in the field of Shakespeare studies, it is the first study to focus specifically on laughter, not comedy. It looks at various strands of the early modern discourse on laughter, ranging from medical treatises and courtesy manuals to Puritan tracts and jestbook literature. It argues that few cultural phenomena have undergone as radical a change in meaning as laughter. This paradigm shift can be traced back to the early modern period, which saw some remarkable changes in the culture of laughter. Hitherto laughter had been mainly regarded as a social corrective that mocked those who transgressed societal norms. The evolving cult of courtly manners that spread throughout Renaissance Europe stigmatized derisive laughter as a sign of vulgarity. Laughter became bound up with questions of taste and class identity. At the same time, humanist thinkers revalorized the status of recreation and pleasure. These developments left their trace on the early modern theatre, where laughter was retailed as a commodity in an emerging entertainment industry. Shakespeare´s plays both reflect and shape these changes, particularly in his adaptation of the Erasmian wise fool as a stage figure and in the skeptical strain of thought that is encapsulated in the laughter evoked in the plays.

Shakespeare and Laughter: A Cultural History

Humor & Entertainment

Humor

Manchester University Press

This book examines laughter in the Shakespearean theatre, in the context of a cultural history of early modern laughter. Aimed at an informed readership as well as graduate students and scholars in the field of Shakespeare studies, it is the first study to focus specifically on laughter, not comedy. It looks at various strands of the early modern discourse on laughter, ranging from medical treatises and courtesy manuals to Puritan tracts and jestbook literature. It argues that few cultural phenomena have undergone as radical a change in meaning as laughter. Laughter became bound up with questions of taste and class identity. At the same time, humanist thinkers revalorised the status of recreation and pleasure. These developments left their trace on the early modern theatre, where laughter was retailed as a commodity in an emerging entertainment industry. Shakespeare´s plays both reflect and shape these changes, particularly in his adaptation of the Erasmian wise fool as a stage figure, and in the sceptical strain of thought that is encapsulated in the laughter evoked in the plays.

Shakespeare and laughter: A cultural history

A collection of writings on travels undertaken in the Victorian era. The texts collected in these volumes show how 19th century travel literature served the interests of empire by promoting British political and economic values that translated into manufacturing goods.

Nineteenth-Century Travels, Explorations and Empires, Part I Vol 1: Writings from the Era of Imperial Consolidation, 1835-1910

Baker, William

Kitson, Peter J.

Schoenbauer Thurin, Susan

World

Nineteenth-Century Travels, Explorations and Empires, Part I Vol 2: Writings from the Era of Imperial Consolidation, 1835-1910

Americas

Nineteenth-Century Travels, Explorations and Empires, Part I Vol 3: Writings from the Era of Imperial Consolidation, 1835-1910

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