The works of Shakespeare: in seven volumes. Collated with the oldest copies, and corrected;

v. 1. The tempest. The midsummer-night's dream. The two gentlemen of Verona. Merry wives of Windsor. Measure for measure. Much ado about nothing.--v. 2. The merchant of Venice. Love's labour's lost. As you like it. Taming the shrew. All's well that ends well. Twelfthnight; or, What you will.--v. 3. Comedy of errors. Winter's tale. King John. King Richard II. 1st part of K. Henry IV. 2d part of K. Henry IV.--v. 4. K. Henry V. 1st part of K. Henry VI. 2d part of K. Henry VI. 3d part of K. Henry VI. K. Richard III.--v. 5. K. Henry VIII. K. Lear. Macbeth. Timon of Athens. Titus Andronicus.--v. 6. Coriolanus Julius Cæsar. Antomy and Cleopatra. Cymbeline.--v. 7. Troilus and Cressida. Romeo and Juliet. Hamlet, Prince of Denmark. Othello. A table of the several editions of Shakespeare's plays, collected by the editor (p. [495]-[503])

The modern readers Shakespeare;

v. 1. Life of Shakespeare. King Henry VI, pt. 1-3.--v. 2. Two gentlemen of Verona.-Comedy of errors.-Richard II.-Richard III.--v. 3. Love's labor's lost.-Merchant of Venice. Midsummer-night's dream.-Romeo and Juliet.-- v. 5. Henry V.-As you like it.-Much ado about nothing.-Hamlet.--v. 6. Merry wives of Windsor.-Troilus and Cressida.-Measure for measure.-King Henry VIII.--v. 8. Julius Caesar.-All's well that ends well.-Antony and Cleopatra.-Cymbeline.--v. 9. Timon of Athens.-Coriolanus.-Winter's tale.-The tempest.--v. 10. Titus Andronicus.-Pericles.-Poems.-Sonnets.

The Temple Shakespeare /

"The text here used is that of the 'Cambridge' edition"--Verso of t.p.

The extravaganzas of J. R. Planché, esq., (Somerset herald) 1825-1871.

Imperfect: List of subscribers wanting.

United States congressional serial set.

The set has also been known variously as: Serial number set, Congressional edition, Congressional set, Congressional series, Congressional series of United States public documents, Congressional document series, Sheep set, Sheep bound set (owing to its distinctive sheepskin binding), and Serial set.

Shakespeare's works, with glossarial notes, and a sketch of his life ...

v. 1. The tempest. Two gentlemen of Verona. Merry wives of Windsor. Twelfth night. Measure for measure.--v. 2. Much ado about nothing. Midsummer-night's dream. Love's labors lost. Merchant of Venice. As you like it.--v. 3. All's well that ends well. Taming of the shrew. Winter's tale. Comedy of errors. Macbeth.--v. 4. King John. King Richard II. King Henry IV, part I. King Henry IV, part II. King Henry V.--v. 5. King Henry VI, part I. King Henry VI, part II. King Henry VI, part III. King Richard III.--v.6. King Henry VIII. Troilus and Cressida. Timon of Athens. Coriolanus.--v. 7. Julius Caesar. Antony and Cleopatra. Cymbeline. Titus Andronicus. Pericles.--v. 8. King Lear. Romeo and Juliet. Hamlet. Othello.

The dramatic works of William Shakespeare; with a life of the poet, and notes, original and selected.

Edited by Oliver W. B. Peabody; based on Singer's edition, "carefully compared" with the folio of 1623; with the life by Dr. Symmons, revised, and "New facts" by Collier. The first critical American edition. cf. Preface and J. Sherzer, American editions of Shakespeare (Modern lang. assoc. Publ., v. 22, pp. 658-659)

Shakespeare's works.

1. Tempest. Two gentlemen of Verona. Merry wives of Windsor. Measure for measure. Comedy of errors.--2. Much ado about nothing. Love's labour's lost. Midsummer night's dream. Merchant of Venice. As you like it.--3. Taming of the shrew. All's well that ends well. Twelfth Night. Winter's tale.--4. King John. King Richard II. King Henry IV. King Henry V.--5. King Henry VI. King Richard III. King Henry VIII.--6. Troilus and Cressida. Coriolanus. Titus Andronicus. Romeo and Juliet.--7. Timon of Athens. Julius Caesar. Macbeth. Hamlet. King Lear.--8. Othello. Antony and Cleopatra. Cymbeline. Pericles.--9. Songs, sonnets, poems. Index to first lines.

The works of William Shakespeare /

v. 1. Life, etc. The tempest. The two gentlemen of Verona. The merry wives of Windsor. Measure for measure.--v. 2. The comedy of errors. Much ado about nothing. Love's labour's lost. A midsummer night's dream. The merchant of Venice.--v. 3. As you like it. The taming of the shrew. All's well that ends well. Twelfth-night. The winter's tale.--v. 4. King John. King Richard II. King Henry IV. Pts. I-II. King Henry V.--v. 5. King Henry VI. Pts. I-III. King Richard III. King Henry VIII.--v. 6. Triolus and Cressida. Coriolanus. Titus Andronicus. Romeo and Juliet. Timon of Athens. Julius Caesar.--v. 7. Macbeth. Hamlet. King Lear. Othello. Antony and Cleopatra. Cymbeline.--v. 8. Pericles. The two noble kinsmen. Venus and Adonis. Lucrece. Sonnets. A lover's complaint. The passionate pilgrim. The phoenix and turtle.--v. 9. Glossary.

The works of Shakespeare /

"The text ... from MacBeth [v. 31] onwards has been edited by Mr. Walter Raleigh" note in v. 38.

The dramatic works of William Shakspeare : accurately printed from the text of the corrected copy left by the late George Steevens ..., with glossarial notes and a sketch of the life of Shakspeare ; in two volumes.

Added title-pages, engraved (with vignette) : The plays of William Shakspeare, illustrated with engravings by George B. Ellis, from the designs of R. Smirk, R. A.

The complete works of Shakespeare with life, compendium, and concordance ...

At head of title: The Dr. Johnson edition.

Becoming a therapist: Challenging the role of training - An interview with Ernesto Spinelli

Research appears to indicate that the personal qualities of the therapist really count in effective therapy. Brian Sullivan from the University of Queensland asks Professor Ernesto Spinelli for his opinion on the vexing questions that arise when this knowledge is considered in the effective training of therapists. What are the significant personal qualities and how do we identify them? Are good therapists born with the raw material to start with, or can anyone be trained to become a therapist? Is personal development an essential component of any professional therapeutic training? If so, how do you incorporate it into a training program? What are the essential criteria in a successful selection process of trainees? (editor abstract)

A hermeneutic phenomenology of graduate education students' understandings of instructor power in a higher education classroom

Higher education is a distribution center of knowledge and economic, social, and cultural power (Cervero & Wilson, 2001). A critical approach to understanding a higher education classroom begins with recognizing the instructor's position of power and authority (Tisdell, Hanley, & Taylor, 2000). The power instructors wield exists mostly unquestioned, allowing for teaching practices that reproduce the existing societal patterns of inequity in the classroom (Brookfield, 2000). ^ The purpose of this hermeneutic phenomenological study was to explore students' experiences with the power of their instructors in a higher education classroom. A hermeneutic phenomenological study intertwines the interpretations of both the participants and the researcher about a lived experience to uncover layers of meaning because the meanings of lived experiences are usually not readily apparent (van Manen, 1990). Fifteen participants were selected using criterion, convenience, and snowball sampling. The primary data gathering method were semi-structured interviews guided by an interview protocol (Creswell, 2003). Data were interpreted using thematic reflection (van Manen, 1990). ^ Three themes emerged from data interpretation: (a) structuring of instructor-student relationships, (b) connecting power to instructor personality, and (c) learning to navigate the terrains of higher education. How interpersonal relationships were structured in a higher education classroom shaped how students perceived power in that higher education classroom. Positive relationships were described using the metaphor of family and a perceived ethic of caring and nurturing by the instructor. As participants were consistently exposed to exercises of instructor power in a higher education classroom, they attributed those exercises of power to particular instructor traits rather than systemic exercises of power. As participants progressed from undergraduate to graduate studies, they perceived the benefits of expertise in content or knowledge development as secondary to expertise in successfully navigating the social, cultural, political, and interpersonal terrains of higher education. Ultimately, participants expressed that higher education is not about what you know; it is about learning how to play the game. Implications for teaching in higher education and considerations for future research conclude the study.^

Gender Benders: Shakespeare's Rosalind and Woolf's Orlando

English Renaissance playwright, William Shakespeare and twentieth century modernist author, Virginia Woolf’s works, “As You Like It” (1599) and “Orlando” (1928), respectively posit a vision of gender that transcends the physical sex of the body. The play’s heroine, Rosalind, and the novel’s protagonist, Orlando, each challenge the stability of the binary categories of male and female, demonstrating how gender is not absolute but rather a constantly adapting and evolving construct. This thesis traces the development of Rosalind and Orlando by analyzing and comparing both protagonists’ journeys towards concordia discors, considering how gender transformation plays a pivotal role in helping both figures transcend prescribed gender roles and restraints placed upon them by family and society. Both Rosalind and Orlando mount challenges to prescribed gender norms during periods when conservative gender roles were strictly enforced. By doing so, each character positions themselves as pivotal and progressive representations of gender performance for their time.