• Literary studies: general
      November 2008

      A Fury in the Words

      Love and Embarrassment in Shakespeare's Venice

      by Harry Berger, Jr.

    • Literary studies: general
      November 2008

      A Fury in the Words

      Love and Embarrassment in Shakespeare's Venice

      by Harry Berger, Jr.

    • Shakespeare studies & criticism
      May 2008

      Loaded Words

      by Marjorie Garber

    • Literature & Literary Studies

      The Shakespearean Ethic

      by John Vyvyan

      ‘… the most original book about Shakespeare I have ever read'Christopher BookerOriginally published by Chatto & Windus in 1959, this book has long been out of print and largely neglected by Shakespearean scholars. It offers a viewpoint seldom considered: an unusual and exceptionally clear insight into Shakespeare’s philosophy. It does so with freshness, modesty and conviction.Appreciating the danger Shakespeare faced in writing at a time of major religious intolerance, Vyvyan shows how subtly the plays explore aspects of the perennial philosophy allegorically. In doing so, Shakespeare raises the fundamental question of ethics: What ought we to do?‘Shakespeare,’ says the author, ‘is never ethically neutral. He is never in doubt as to whether the souls of his characters are rising or falling.’ There is a constant pattern in the tragedies: ‘first the hero is untrue to his own self, then he casts out love, then conscience is gone – or rather inverted – and the devil enters into him.’ Vyvyan shows us this pattern of damnation, or its counterpart – a pattern of regeneration – working out in certain plays, contrasting Hamlet with Measure for Measure and Othello with The Winter’s Tale, where a similar dilemma and choice confront the hero. His intuitive insights also illumine Macbeth, Julius Caesar and Titus Andronicus which focus on the fall, whereas The Tempest explores most fully the pattern of regeneration and creative mercy.Here is a book, both thought-provoking and persuasive, which will send many readers back to Shakespeare’s plays with fresh vision and clearer understanding. To assist such readers, this edition cross-references the quotations in the text to the relevant place in the play. The text has been completely reset and the index expanded.

    • Shakespeare studies & criticism

      Shakespeare and the Prince of Love

      The Feast of Misrule in the Middle Temple

      by Anthony. Arlidge

      Through his researches in the rich archive of 16th and 17th century manuscripts and documents at the Middle Temple in London, where he is a senior barrister, Anthony Arlidge has revealed that Shakespeare's Twelfth Night was commissioned for performance there in 1602. Middle Temple Hall is the only building surviving from Shakespeare's time where it is known that one of his plays had its first night.;He shows that, with its many legal references and 'inn-jokes', Twelfth Night was almost certainly written for an audience of lawyers. The Middle Temple was in fact full of talented young poets and playwrights at the time -- John Webster, John Ford and John Marston, author of What You Will, amongst others -- and it seems probable that Shakespeare knew some of them personally. Also, a 'cousin' of Shakespeare's was a student in the Inn in 1602. Like other Inns of Court, it had its own tradition of holding a feast of 'misrule' over the Christmas period, led by the Bright Prince of Burning Love. Twelfth Night has many oblique references to such festivities. That, for example, is the meaning in Italian of the name of the important character Feste. The still extant text of the Inn's 1597/8 festivities is included complete in an appendix.;In the course of the book, Anthony Arlidge describes in detail the background of the contemporary legal world, and brings to life the extravagant literary and social milieu of the Elizabethan Inns of Court in all its complexity. Shakespeare and the Prince of Love is written in such a way that it will have a strong appeal to the general reader as well as to Shakespeare enthusiasts, students of English literature and historians, for whom it will be an essential acquisition.

    • Shakespeare studies & criticism
      May 2008

      Loaded Words

      by Marjorie Garber

    • Shakespeare studies & criticism

      Shakespeare and the Rose of Love

      by John Vyvyan

    • Shakespeare studies & criticism

      Shakespeare and Platonic Beauty

      by John Vyvyan

    • Shakespeare studies & criticism

      The Storm at Sea

      Political Aesthetics in the Time of Shakespeare

      by Christopher Pye

      The Storm at Sea: Political Aesthetics in the Time of Shakespeare counters a tradition of cultural analysis that judges considerations of aesthetic autonomy in the early modern context to be either anachronistic or an index of political disengagement. Pye argues that for a post-theocratic era in which the mise-en-forme of the social domain itself was for the first time at stake, the problem of the aesthetic lay at the very core of the political; it is precisely through its engagement with the question of aesthetic autonomy that early modern works most profoundly explore their relation to matters of law, state, sovereignty, and political subjectivity. Pye establishes the significance of a “creationist” political aesthetic—at once a discrete historical category and a phenomenon that troubles our familiar forms of historical accounting—and suggests that the fate of such an aesthetic is intimately bound up with the emergence of modern conceptions of the political sphere. The Storm at Sea moves historically from Leonardo da Vinci to Thomas Hobbes; it focuses on Shakespeare and English drama, with chapters on Hamlet, Othello, A Winter’s Tale, and The Tempest, as well as sustained readings of As You Like It, King Lear, Thomas Kyd’s Spanish Tragedy, and Christopher Marlowe’s Doctor Faustus. Engaging political thinkers such as Carl Schmitt, Giorgio Agamben, Claude Lefort, and Roberto Esposito, The Storm at Sea will be of interest to political theorists as well as to students of literary and visual theory.

    • Shakespeare studies & criticism

      The Storm at Sea

      Political Aesthetics in the Time of Shakespeare

      by Christopher Pye

      The Storm at Sea: Political Aesthetics in the Time of Shakespeare counters a tradition of cultural analysis that judges considerations of aesthetic autonomy in the early modern context to be either anachronistic or an index of political disengagement. Pye argues that for a post-theocratic era in which the mise-en-forme of the social domain itself was for the first time at stake, the problem of the aesthetic lay at the very core of the political; it is precisely through its engagement with the question of aesthetic autonomy that early modern works most profoundly explore their relation to matters of law, state, sovereignty, and political subjectivity. Pye establishes the significance of a “creationist” political aesthetic—at once a discrete historical category and a phenomenon that troubles our familiar forms of historical accounting—and suggests that the fate of such an aesthetic is intimately bound up with the emergence of modern conceptions of the political sphere. The Storm at Sea moves historically from Leonardo da Vinci to Thomas Hobbes; it focuses on Shakespeare and English drama, with chapters on Hamlet, Othello, A Winter’s Tale, and The Tempest, as well as sustained readings of As You Like It, King Lear, Thomas Kyd’s Spanish Tragedy, and Christopher Marlowe’s Doctor Faustus. Engaging political thinkers such as Carl Schmitt, Giorgio Agamben, Claude Lefort, and Roberto Esposito, The Storm at Sea will be of interest to political theorists as well as to students of literary and visual theory.

    • Shakespeare studies & criticism

      The Storm at Sea

      Political Aesthetics in the Time of Shakespeare

      by Christopher Pye

      The Storm at Sea: Political Aesthetics in the Time of Shakespeare counters a tradition of cultural analysis that judges considerations of aesthetic autonomy in the early modern context to be either anachronistic or an index of political disengagement. Pye argues that for a post-theocratic era in which the mise-en-forme of the social domain itself was for the first time at stake, the problem of the aesthetic lay at the very core of the political; it is precisely through its engagement with the question of aesthetic autonomy that early modern works most profoundly explore their relation to matters of law, state, sovereignty, and political subjectivity. Pye establishes the significance of a “creationist” political aesthetic—at once a discrete historical category and a phenomenon that troubles our familiar forms of historical accounting—and suggests that the fate of such an aesthetic is intimately bound up with the emergence of modern conceptions of the political sphere. The Storm at Sea moves historically from Leonardo da Vinci to Thomas Hobbes; it focuses on Shakespeare and English drama, with chapters on Hamlet, Othello, A Winter’s Tale, and The Tempest, as well as sustained readings of As You Like It, King Lear, Thomas Kyd’s Spanish Tragedy, and Christopher Marlowe’s Doctor Faustus. Engaging political thinkers such as Carl Schmitt, Giorgio Agamben, Claude Lefort, and Roberto Esposito, The Storm at Sea will be of interest to political theorists as well as to students of literary and visual theory.

    • Shakespeare studies & criticism

      The Storm at Sea

      Political Aesthetics in the Time of Shakespeare

      by Christopher Pye

      The Storm at Sea: Political Aesthetics in the Time of Shakespeare counters a tradition of cultural analysis that judges considerations of aesthetic autonomy in the early modern context to be either anachronistic or an index of political disengagement. Pye argues that for a post-theocratic era in which the mise-en-forme of the social domain itself was for the first time at stake, the problem of the aesthetic lay at the very core of the political; it is precisely through its engagement with the question of aesthetic autonomy that early modern works most profoundly explore their relation to matters of law, state, sovereignty, and political subjectivity. Pye establishes the significance of a “creationist” political aesthetic—at once a discrete historical category and a phenomenon that troubles our familiar forms of historical accounting—and suggests that the fate of such an aesthetic is intimately bound up with the emergence of modern conceptions of the political sphere. The Storm at Sea moves historically from Leonardo da Vinci to Thomas Hobbes; it focuses on Shakespeare and English drama, with chapters on Hamlet, Othello, A Winter’s Tale, and The Tempest, as well as sustained readings of As You Like It, King Lear, Thomas Kyd’s Spanish Tragedy, and Christopher Marlowe’s Doctor Faustus. Engaging political thinkers such as Carl Schmitt, Giorgio Agamben, Claude Lefort, and Roberto Esposito, The Storm at Sea will be of interest to political theorists as well as to students of literary and visual theory.

    • Shakespeare studies & criticism
      September 2009

      Shakespearean Gothic

      by Christy Desmet (Editor), Anne Williams (Editor),

      This book explores the paradox that the Gothic (today’s werewolves, vampires, and horror movies) owe their origins (and their legitimacy) to eighteenth-century interpretations of Shakespeare. As Shakespeare was being established as the supreme British writer throughout the century, he was cited as justification for early Gothic writers’ fascination with the supernatural, their abandoning of literary “decorum,” and their fascination with otherness and extremes of every kind. This book addresses the gap for an up to date analysis of Shakespeare’s relation to the Gothic. An authority on the Gothic, E.J. Clery, has stated that “It would be impossible to overestimate the importance of Shakespeare as touchstone and inspiration for the terror mode, even if we feel the offspring are unworthy of their parent. Scratch the surface of any Gothic fiction and the debt to Shakespeare will be there.” This book therefore addresses Shakespeare’s importance to the Gothic tradition as a whole and also to particular, well-known and often studied Gothic works. It also considers the influence of the Gothic on Shakespeare, both in-print and on stage in eighteenth- and nineteenth-century Britain. The introductory chapter places the chapters within the historical development of both Shakespearean reception and Gothic Studies. The book is divided into three parts: 1) Gothic Appropriations of “Shakespeare”; 2) Rewriting Shakespearean Plays and Characters; 3) Shakespeare Before/After the Gothic.

    • Shakespeare studies & criticism
      September 2009

      Shakespearean Gothic

      by Christy Desmet (Editor), Anne Williams (Editor),

      This book explores the paradox that the Gothic (today’s werewolves, vampires, and horror movies) owe their origins (and their legitimacy) to eighteenth-century interpretations of Shakespeare. As Shakespeare was being established as the supreme British writer throughout the century, he was cited as justification for early Gothic writers’ fascination with the supernatural, their abandoning of literary “decorum,” and their fascination with otherness and extremes of every kind. This book addresses the gap for an up to date analysis of Shakespeare’s relation to the Gothic. An authority on the Gothic, E.J. Clery, has stated that “It would be impossible to overestimate the importance of Shakespeare as touchstone and inspiration for the terror mode, even if we feel the offspring are unworthy of their parent. Scratch the surface of any Gothic fiction and the debt to Shakespeare will be there.” This book therefore addresses Shakespeare’s importance to the Gothic tradition as a whole and also to particular, well-known and often studied Gothic works. It also considers the influence of the Gothic on Shakespeare, both in-print and on stage in eighteenth- and nineteenth-century Britain. The introductory chapter places the chapters within the historical development of both Shakespearean reception and Gothic Studies. The book is divided into three parts: 1) Gothic Appropriations of “Shakespeare”; 2) Rewriting Shakespearean Plays and Characters; 3) Shakespeare Before/After the Gothic.

    • Shakespeare studies & criticism
      February 2016

      Shakespeare: Poet and Citizen

      by Victor Kiernan

      Although Shakespeare is rightly celebrated for the continued relevancy of his plays and poetry today, we too often lose sight of the wider historical context which shaped his work. In Shakespeare: Poet and Citizen, Victor Kiernan shows that Shakespeare was profoundly sensitive to the great social and political upheavals of his age. Shakespeare's life coincided with the first challenges to the institution of monarchy, as well as far-reaching transformations in the social hierarchy. By placing the plays within this context of an emerging modernity, Kiernan upends our perception of Shakespeare's writings. He shows that these social transformations, and especially the changing roles of women, are crucial to our understanding of the Comedies, in which the confusion of identity, disguise and cross-dressing play a central role; while the History plays similarly reflect the demise of feudal allegiances and the development of the modern state. Featuring a new foreword by Michael Wood, Shakespeare: Poet and Citizen provides a rich resource for both students of literature and for the general reader looking for new insight into the life of our greatest dramatist.

    • Shakespeare studies & criticism
      November 2015

      Titus Andronicus

      by Michael D. Friedman

      Michael D. Friedman's second edition of this stage history of Shakespeare's Titus Andronicus adds an examination of twelve major theatrical productions and one film that appeared in the years 1989-2009. Friedman identifies four lines of descent in the recent performance history of the play: the stylised, realistic, darkly comic, and political approaches, which culminate in Julie Taymor's harrowing film Titus (1999). Aspects of Taymor's eclectic vision of ancient Rome under the grip of modern fascism were copied by several subsequent productions, making Titus the most characteristic, as well as the most influential, contemporary performance of the play. Friedman's work extends Alan Dessen's original study to include Taymor's film, along with chapters devoted to the efforts of international directors including Gregory Doran, Silviu Purcarete, and Yukio Ninagawa. This expanded volume will prove essential to students of Shakespeare's play, along with scholars interested in the tragedy's gruesome yet occasionally comical performance history.

    • Shakespeare studies & criticism
      November 2015

      Titus Andronicus

      by Michael D. Friedman

      Michael D. Friedman's second edition of this stage history of Shakespeare's Titus Andronicus adds an examination of twelve major theatrical productions and one film that appeared in the years 1989-2009. Friedman identifies four lines of descent in the recent performance history of the play: the stylised, realistic, darkly comic, and political approaches, which culminate in Julie Taymor's harrowing film Titus (1999). Aspects of Taymor's eclectic vision of ancient Rome under the grip of modern fascism were copied by several subsequent productions, making Titus the most characteristic, as well as the most influential, contemporary performance of the play. Friedman's work extends Alan Dessen's original study to include Taymor's film, along with chapters devoted to the efforts of international directors including Gregory Doran, Silviu Purcarete, and Yukio Ninagawa. This expanded volume will prove essential to students of Shakespeare's play, along with scholars interested in the tragedy's gruesome yet occasionally comical performance history.

    • Shakespeare studies & criticism
      November 2015

      Coriolanus

      by Robert Ormsby

      This book is a study of twenty stage productions, adaptations and screen versions of Shakespeare's final Roman play. It makes available for the first time sustained discussions of major productions of the play in four languages and five countries, and explores how Shakespeare's most political drama has been shaped to circumstances radically different from its original early modern staging. The book offers in-depth analyses of Coriolanus productions covering the post-war era to the twenty-first century, combining close readings of documents and historical contextualisation to productions by the BBC, the Berliner Ensemble, The Katona József Theatre in communist Hungary, the Royal Shakespeare Company, Britain's National Theatre, The New York Shakespeare Festival, Robert Lepage, Shakespeare's Globe Theatre and Ralph Fiennes' major motion picture. This volume will be of interest to a wide range of readers, including specialists, graduate students and undergraduates studying both Coriolanus and the history of Shakespearean performance.

    • Shakespeare studies & criticism
      November 2015

      Coriolanus

      by Robert Ormsby

      This book is a study of twenty stage productions, adaptations and screen versions of Shakespeare's final Roman play. It makes available for the first time sustained discussions of major productions of the play in four languages and five countries, and explores how Shakespeare's most political drama has been shaped to circumstances radically different from its original early modern staging. The book offers in-depth analyses of Coriolanus productions covering the post-war era to the twenty-first century, combining close readings of documents and historical contextualisation to productions by the BBC, the Berliner Ensemble, The Katona József Theatre in communist Hungary, the Royal Shakespeare Company, Britain's National Theatre, The New York Shakespeare Festival, Robert Lepage, Shakespeare's Globe Theatre and Ralph Fiennes' major motion picture. This volume will be of interest to a wide range of readers, including specialists, graduate students and undergraduates studying both Coriolanus and the history of Shakespearean performance.

    • Shakespeare studies & criticism
      November 2015

      Julius Caesar

      by Andrew James Hartley

      Julius Caesar presents a performance history of a controversial play, moving from its 1599 opening all the way into the new millennium with particular emphasis on its twentieth- and twenty-first-century incarnations on stage and screen. The book tracks the play's evolution from being a play about the oratorical skill of noble Romans to its recent manifestations as a dark political thriller. Chapters in this theoretically savvy and global study consider productions such as Orson Welles's groundbreaking examination of European Fascism, Joseph Mankeiwicz's Oscar winning 1953 film, politically complex productions at the Royal Shakespeare Company, and shows from around the world which interrogate their own cultural and educational context as well as pressing contemporary concerns such as the reach of mass media. The result blows the dust off a play sometimes considered old-fashioned, navigates its thorny theatrical qualities and revels in those productions which have so excited audiences.

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