Rebecca Warren Book order (chronological)

Parkett 78 features the artists Ernesto Neto, Olaf Nicolai and Rebecca Warren. Neto's drooping, opaque lycra installations envelop the viewer in a fog of fabric, a cushion for the gaze, their milky skins leaving children ecstatic and adults in a Fredric Jamesonian "Hyperspace." Olaf Nicolai's concept-driven art, like much of the avant-garde work of the last half-century, remains set on integrating art with daily life. We experience this "blurring" in his randomly arranged pre-fabricated Pantone colors, ornamental stones taken from a 1960s Dresden shopping mall and wall text reading, "A short catalogue of things that you think you want…" Rebecca Warren makes vulgar, lumpy plasticine figures that show the influence of Giacometti and R. Crumb alike. As Neal Brown writes, her figures are, "fingered and improperly squeezed into something that is compulsively-chaotic-masturbatory-fat-ugly-disfigured-repressed-incontinent-excretory-bestial-bulimic…" The issue also features Erwin Wurm, Andro Wekua and Vito Acconci, with texts by Yuko Hasegawa, Paulo Herkenhoff, Charles Esche, Vincent Pécoil, Catherine Lampert, Marjorie Perloff and Kate Fowle, among others.

In a period of ten years, Shakespeare wrote a series of tragedies that established him, by universal consent, in the front rank of the worlds dramatists. Critics have praised either Hamlet or King Lear as the greatest of these; Ernst Honigmann, in the most significant edition of the play for a generation, asks: why not Othello? The third of the mature tragedies, it contains, as Honigmann persuasively demonstrates, perhaps the best plot, two of Shakespeares most original characters, the most powerful scene in any of the plays and poetry second to none. Honigmanns cogent and closely argued introduction outlines the reasons both for a reluctance to recognize the greatness of Othello and for the case against the play. This edition sheds new light on the text of the play as we have come to know it, and on our knowledge of its early history. Honigmann examines the major critical issues, the play in performance and the relationship between reading it and seeing it. He also explores topics such as its date, sources and the conundrum of double time. 'Honigmann's extensive knowledge illuminates this play at every turn, making this the best edition of Othello now available.' Brian Vickers, Review of English Studies

Building on the formula of York Notes, this Advanced series introduces students to more sophisticated analysis and wider critical perspectives. The notes enable students to appreciate contrasting interpretations of the text and to develop their own critical thinking. Key features include: study methods; an introduction to the text; summaries with critical notes; themes and techniques; textual analysis of key passages; author biography; historical and literary background; modern and historical critical approaches; chronology; and glossary of literary terms.