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NEED HELP?
Email: askus@hilbert.edu
Call: (716) 926 8913
If we do not have the full text version of an article, users can request that article through InterLibrary Loan (ILL). We look for the article at other libraries and do our best to get you a copy of the article!
Visit the ILL page on our website to learn more about this service.
If you've never used ILL before, you will have to create an account. Click the button below to access your account and/or make a new account:
What is interlibrary loan (ILL)?
Interlibrary loan (ILL) is the process by which library materials are made available by one library to another.
How do I submit a request?
If it is a book, please check the online catalog first to see if the item is owned by McGrath Library. We cannot fill requests for books that we own, even if the item is checked out. In the case of journal articles, there is an embedded ILL form in some of the article databases. Otherwise, please use the form at the top of this page or come into the Library and submit your request at the reference desk.
Who is eligible to use ILL?
Current faculty, staff and students of Hilbert College.
What materials can I request?
Books and copies of journal articles may be requested through ILL. Audio-visual and multimedia materials and textbooks are usually not available for loan, but they may be available. We cannot request entire issues of journals or computer software due to copyright law restrictions.
Is there a charge for using ILL?
Most of the time, we are able to obtain the materials you need free of charge. When we are not able to do so, you may be asked if you are willing to pay for the material before we order it.
How long until I receive my material?
We are committed to rapidly processing ILL requests. Articles usually arrive within a few days, while books can take approximately seven to ten days, although there are exceptions. Ultimately, delivery time depends on processing, mail and delivery method of the lending institution. Note also that there may be times when we are unable to successfully borrow the material you want, so we suggest that you start your research early.
How will my material be delivered?
Whenever possible, requested articles may be delivered via email; please see the ILL form or Melissa Laidman for more information. In all other cases, you may pick up your material on the ILL shelf next to the course reserves. You will be contacted by email when your material is available.
How long can I keep ILL material?
Photocopies of articles are yours to keep. Books borrowed through ILL must be returned to the reference desk by the due date. Do not drop ILL books off into the book drop. If you need a renewal, please ask before the due date. Some lending libraries may not allow renewals, so plan your research accordingly. If a book is not returned, you will be responsible for paying a replacement fee.
SHAKESPEARE LIBGUIDE
Here hung those lips that I have kissed I know not how oft. —Where be your gibes now? Your gambols? Your songs? Your flashes of merriment that were wont to set the table on a roar? Not one now to mock your own grinning? Quite chapfallen?
ANTHOLOGIES AVAILABLE AT McGRATH LIBRARY
The Riverside Shakespeare by
Complete Collection of Plays
Shakespeare - The Complete Works by
The new Oxford edition of Shakespeare's complete works reconsiders every detail of their text and presentation in the light of modern scholarship. The nature and authority of the early documents are re-examined, and the canon and chronological order of composition freshly established. Spellingand punctuation are modernized, and there is a brief introduction to each work, as well as an illuminating and informative General Introduction. OUP and Shakespeare's Globe Theatre this year embark on an official partnership to celebrate the plays both in print and performance -- this reissued andrejacketed edition of the complete works underscores the commitment.
Worlds Elsewhere: Journeys around Shakespeare's globe by
A book about how Shakespeare became fascinated with the world, and how the world became fascinated with Shakespeare Ranging ambitiously across four continents and four hundred years,Worlds Elsewhereis an eye-opening account of how Shakespeare went global. Seizing inspiration from the playwright’s own fascination with travel, foreignness, and distant worlds—worlds Shakespeare never himself explored—Andrew Dickson takes us on an extraordinary journey: fromHamletperformed by English actors tramping through the Baltic states in the early sixteen hundreds to the skyscrapers of twenty-first-century Beijing and Shanghai, where “Shashibiya” survived Mao’s Cultural Revolution to become a revered Chinese author. En route, Dickson traces Nazi Germany’s strange love affair with, and attempted nationalization of, the Bard, and delves deep into the history of Bollywood, where Shakespearean stories helped give birth to Indian cinema. In Johannesburg, we discover how Shakespeare was enlisted in the fight to end apartheid. In nineteenth-century California, we encounter shoestring performances ofRichard IIIandOthelloin the dusty mining camps and saloon bars of the Gold Rush. No other writer’s work has been performed, translated, adapted, and altered in such a remarkable variety of cultures and languages. Both a cultural history and a literary travelogue,Worlds Elsewhereis an attempt to understand how Shakespeare has become the international phenomenon he is—and why.
Poor Tom: Living King Lear by
King Lear is perhaps the most fierce and moving play ever written. And yet there is a curious puzzle at its center. The figure to whom Shakespeare gives more lines than anyone except the king--Edgar--has often seemed little more than a blank, ignored and unloved, a belated moralizer who, try as he may, can never truly speak to the play’s savaged heart. He saves his blinded father from suicide, but even this act of care is shadowed by suspicions of evasiveness and bad faith. In Poor Tom, Simon Palfrey asks us to go beyond any such received understandings--and thus to experience King Lear as never before. He argues that the part of Edgar is Shakespeare’s most radical experiment in characterization, and his most exhaustive model of both human and theatrical possibility. The key to the Edgar character is that he spends most of the play disguised, much of it as "Poor Tom of Bedlam,” and his disguises come to uncanny life. The Edgar role is always more than one person; it animates multitudes, past and present and future, and gives life to states of being beyond the normal reach of the senses--undead, or not-yet, or ghostly, or possible rather than actual. And because the Edgar role both connects and retunes all of the figures and scenes in King Lear, close attention to this particular part can shine stunning new light on how the whole play works. The ultimate message of Palfrey’s bravura analysis is the same for readers or actors or audiences as it is for the characters in the play: see and listen feelingly; pay attention, especially when it seems as though there is nothing there.
Women of Will by
From one of the country's foremost experts on Shakespeare and theatre arts, actor, director, and master teacher Tina Packer offers an exploration--fierce, funny, fearless--of the women of Shakespeare's plays. A profound, and profoundly illuminating, book that gives us the playwright's changing understanding of the feminine and reveals some of his deepest insights. Packer, with expert grasp and perception, constructs a radically different understanding of power, sexuality, and redemption. Beginning with the early comedies (The Taming of the Shrew, Two Gentlemen of Verona, The Comedy of Errors), Packer shows that Shakespeare wrote the women of these plays as shrews to be tamed or as sweet little things with no definable independent thought, virgins on the pedestal. The women of the histories (the three parts of Henry VI; Richard III) are, Packer shows, much more interesting, beginning with Joan of Arc, possibly the first woman character Shakespeare ever created. In her opening scene, she's wonderfully alive--a virgin, true, sent from heaven, a country girl going to lead men bravely into battle, the kind of girl Shakespeare could have known and loved in Stratford. Her independent resolution collapses within a few scenes, as Shakespeare himself suddenly turns against her, and she yields to the common caricature of his culture and becomes Joan the Enemy, the Warrior Woman, the witch; a woman to be feared and destroyed . . . As Packer turns her attention to the extraordinary Juliet, the author perceives a large shift. Suddenly Shakespeare's women have depth of character, motivation, understanding of life more than equal to that of the men; once Juliet has led the way, the plays are never the same again. As Shakespeare ceases to write about women as predictable caricatures and starts writing them from the inside, embodying their voices, his women become as dimensional, spirited, spiritual, active, and sexual as any of his male characters. Juliet is just as passionately in love as Romeo--risking everything, initiating marriage, getting into bed, fighting courageously when her parents threaten to disown her--and just as brave in facing death when she discovers Romeo is dead. And, wondering if Shakespeare himself fell in love (Packer considers with whom, and what she may have been like), the author observes that from Juliet on, Shakespeare writes the women as if he were a woman, giving them desires, needs, ambition, insight. Women of Will follows Shakespeare's development as a human being, from youth to enlightened maturity, exploring the spiritual journey he undertook. Packer shows that Shakespeare's imagination, mirrored and revealed in his female characters, develops and deepens until finally the women, his creative knowledge, and a sense of a larger spiritual good come together in the late plays, making clear that when women and men are equal in status and sexual passion, they can--and do--change the world. Part master class, part brilliant analysis--Women of Will is all inspiring discovery.
The Gospel According to Shakespeare by
In this slim, poetically powerful volume, Piero Boitani develops his earlier work in The Bible and Its Rewritings, focusing on Shakespeare’s "rescripturing” of the Gospels. Boitani persuasively urges that Shakespeare read the New Testament with great care and an overall sense of affirmation and participation, and that many of his plays constitute their own original testament, insofar as they translate the good news into human terms. In Hamlet and King Lear, he suggests, Shakespeare’s "New Testament" is merely hinted at, and faith, salvation, and peace are only glimpsed from far away. But in Pericles, Cymbeline, The Winter’s Tale, and The Tempest, the themes of compassion and forgiveness, transcendence, immanence, the role of the deity, resurrection, and epiphany are openly, if often obliquely, staged. The Christian Gospels and the Christian Bible are the signposts of this itinerary. Originally published in 2009, Boitani's Il Vangelo Secondo Shakespeare was awarded the 2010 De Sanctis Prize, a prestigious Italian literary award. Now available for the first time in an English translation, The Gospel according to Shakespeare brings to a broad scholarly and nonscholarly audience Boitani's insights into the current themes dominating the study of Shakespeare's literary theology. It will be of special interest to general readers interested in Shakespeare’s originality and religious perspective. "This is an incredible book, written by one of the most learned and, at the same time, passionately elegant Italian scholars. I enjoyed reading it in Italian; it is a pleasure for eyes and soul to savor it in English. And you don't need to be a theologian to appreciate it and keep it on your desk." --Edmondo F. Lupieri, Loyola University, Chicago "This volume displays to the full that unique combination of comprehensive reference and precise application that we have happily come to expect of Piero Boitani's writings. There is, however, an especial urgency at work in these pages and a confidence not merely in the ways that theology can illuminate Shakespeare's texts but also in the ways that Shakespeare's plays can lead to a fresh understanding of what the Gospel is. The sheer energy of Boitani's vision, argument, and phrase (made accessible by an excellent translation) immediately engages the attention of the reader, who will surely return to Shakespeare's original work with a sharpened appetite for its poetry as well as for its Christian meaning." --Robin Kirkpatrick, University of Cambridge "This brilliant, beautiful book unfolds the unique theological vision of Shakespeare's late plays. The gospel according to Shakespeare, the 'good news,' is immanent: on earth, in historical time, and achieved through the recognition of love. Boitani's vision weaves Shakespeare's imagery among the plays, the Bible, and the classics, producing a reading experience of such plenitude that it is akin to the world he describes." --Regina Schwartz, Northwestern University
Hamlet in Purgatory by
In Hamlet in Purgatory, renowned literary scholar Stephen Greenblatt delves into his longtime fascination with the ghost of Hamlet's father, and his daring and ultimately gratifying journey takes him through surprising intellectual territory. It yields an extraordinary account of the rise and fall of Purgatory as both a belief and a lucrative institution--as well as a capacious new reading of the power of Hamlet. In the mid-sixteenth century, English authorities abruptly changed the relationship between the living and dead. Declaring that Purgatory was a false "poem," they abolished the institutions and banned the practices that Christians relied on to ease the passage to Heaven for themselves and their dead loved ones. Greenblatt explores the fantastic adventure narratives, ghost stories, pilgrimages, and imagery by which a belief in a grisly "prison house of souls" had been shaped and reinforced in the Middle Ages. He probes the psychological benefits as well as the high costs of this belief and of its demolition. With the doctrine of Purgatory and the elaborate practices that grew up around it, the church had provided a powerful method of negotiating with the dead. The Protestant attack on Purgatory destroyed this method for most people in England, but it did not eradicate the longings and fears that Catholic doctrine had for centuries focused and exploited. In his strikingly original interpretation, Greenblatt argues that the human desires to commune with, assist, and be rid of the dead were transformed by Shakespeare--consummate conjurer that he was--into the substance of several of his plays, above all the weirdly powerful Hamlet. Thus, the space of Purgatory became the stage haunted by literature's most famous ghost. This book constitutes an extraordinary feat that could have been accomplished by only Stephen Greenblatt. It is at once a deeply satisfying reading of medieval religion, an innovative interpretation of the apparitions that trouble Shakespeare's tragic heroes, and an exploration of how a culture can be inhabited by its own spectral leftovers. This expanded Princeton Classics edition includes a new preface by the author.
Sexuality in the Age of Shakespeare by
This book examines the important themes of sexuality, gender, love, and marriage in stage, literary, and film treatments of Shakespeare's plays. * Includes excerpts of four English early-modern marriage manuals * A bibliography contains sources regarding Greek, Roman, medieval, and early-modern European sexuality as well as Shakespearean criticism * A glossary clarifies unfamiliar terms
