Group for Debates in Anthropological Theory the Right to Difference Is A
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The Picture of Nobody: Shakespeare's Anti-Authorship
The Picture of Nobody: Shakespeare’s anti-authorship RICHARD WILSON Contributor: Richard Wilson is the Sir Peter Hall Professor of Shakespeare Studies at Kingston University, London. His books include Will Power, Secret Shakespeare, and Shakespeare in French Theory. He is the author of numerous articles in academic journals, and is on the editorial board of the journal Shakespeare. 1. Bare life At the end, ‘his nose was as sharp as a pen’ as he ‘babbled of green fields’ (Henry V, 2,3,15). In September 1615, a few weeks before Shakespeare began to make his will and a little over six months before his death, Thomas Greene, town clerk of Stratford, wrote a memorandum of an exchange biographers treasure as the last of the precious few records of the dramatist’s spoken words: ‘W Shakespeares tellyng J Greene that I was not able to beare the enclosinge of Welcombe’.1 John Greene was the clerk’s brother, and Shakespeare, according to previous papers, was their ‘cousin’, who had lodged Thomas at New Place, his Stratford house. So the Greenes had appealed to their sharp-nosed kinsman for help in a battle that pitted the council against a consortium of speculators who were, in their own eyes, if ‘not the greatest… almost the greatest men of England’.2 The plan to enclose the fields of Welcombe north of the town was indeed promoted by the steward to the Lord Chancellor, no less. But the predicament for Shakespeare was that it was led by his friends the Combes, rich money-lenders from whom he had himself bought 107 acres adjacent to the scheme. -
Untimely Aesthetics Shakespeare, Anachronism and Presence
UNTIMELY AESTHETICS SHAKESPEARE, ANACHRONISM AND PRESENCE Submitted for the degree of Doctor of Philosophy by ÉTIENNE POULARD School of English, Communication and Philosophy Cardiff University 2013 This thesis is for Johann. ‘The writer must not conceal that his activity is one of arranging.’ – Walter Benjamin TABLE OF CONTENTS ACKNOWLEDGEMENTS……………………………………………………………………….1 ABSTRACT……………………………………………………………………………………2 NOTE…………………………………………………………………………………………3 SECTION I – ANACHRONISM AND PRESENCE IN SHAKESPEARE CRITICISM……………………………………………………………………………...4-76 • INTRODUCTION – SHAKESPEARE OR THE THEATRE OF THE IMPOSSIBLE……...5-47 ‘Something Repressed Which Recurs’: The Motif of Caesar’s Rome in Shakespeare’s Late Elizabethan Dramas……………………………………………5 A Brief Overview of ‘Shakespeare’s Anachronisms’ in the Criticism……………...7 Historicism’s Shakespeare: Anachronisms as Fragmentary Reflections of an Authentic Historical Scene………………………………………………………….8 1599, A Year in the Life of William Shakespeare: A Key Instance of Historicist Criticism……………………………………………………………………………10 ‘I Should Be the One to Know’: Historicising New Historicism…………………..12 ‘Young Scamels from the Rock’: The Waning of New Historicism………………13 New Historicism and Poststructuralism……………………………………………15 Renaissance Self-Fashioning, or How New Historicism is Based on a Misreading of Foucault’s Power/Resistance Dialectic…………………………….17 ‘We Are Always Free’: Foucault’s Account of Resistance………………………..19 Greenblatt’s ‘Disingenuous’ Relation with French Theory— The Instance of Derrida…………………………………………………………….21 -
9781474435949 Shakespeare I
Shakespeare in the North 66713_Hansen.indd713_Hansen.indd i 118/01/218/01/21 22:46:46 PPMM 66713_Hansen.indd713_Hansen.indd iiii 118/01/218/01/21 22:46:46 PPMM Shakespeare in the North Place, Politics and Performance in England and Scotland Edited by Adam Hansen 66713_Hansen.indd713_Hansen.indd iiiiii 118/01/218/01/21 22:46:46 PPMM Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress.com © editorial matter and organisation Adam Hansen, 2021 © the chapters their several authors, 2021 Edinburgh University Press Ltd The Tun – Holyrood Road, 12(2f) Jackson’s Entry, Edinburgh EH8 8PJ Typeset in 11/13 Bembo by IDSUK (DataConnection) Ltd, and printed and bound in Great Britain. A CIP record for this book is available from the British Library ISBN 978 1 4744 3592 5 (hardback) ISBN 978 1 4744 3594 9 (webready PDF) ISBN 978 1 4744 3595 6 (epub) The right of Adam Hansen to be identifi ed as the editor of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988, and the Copyright and Related Rights Regulations 2003 (SI No. 2498). 66713_Hansen.indd713_Hansen.indd iivv 118/01/218/01/21 22:46:46 PPMM Contents Acknowledgements vii Notes on Contributors viii Introduction 1 Adam Hansen I: Shakespeare and the Early Modern North 1. -
Twentieth-Century Historical, Philosophical and Psychological Perspectives
The Cambridge History of Literary Criticism VOLUME 9 Twentieth-Century Historical, Philosophical and Psychological Perspectives Cambridge Histories Online © Cambridge University Press, 2008 The Cambridge History of Literary Criticism general editors Professor H. B. Nisbet University of Cambridge Professor Claude Rawson Yale University The Cambridge History of Literary Criticism will provide a com- prehensive historical account of Western literary criticism from class- ical antiquity to the present day, dealing with both literary theory and critical practice. The History is intended as an authoritative work of reference and exposition, but more than a mere chronicle of facts. While remaining broadly non-partisan it will, where ap- propriate, address controversial issues of current critical debate without evasion or false pretences of neutrality. Each volume is a self-contained unit designed to be used independently as well as in conjunction with the others in the series. Substantial bibliographical material in each volume will provide the foundation for further study of the subjects in question. volumes published Volume 1: Classical Criticism, edited by George A. Kennedy Volume 2: The Middle Ages, edited by Alastair Minnis and Ian Johnson Volume 3: The Renaissance, edited by Glyn Norton Volume 4: The Eighteenth Century, edited by H. B. Nisbet and Claude Rawson Volume 5: Romanticism, edited by Marshall Brown Volume 7: Modernism and the New Criticism, edited by A. Walton Litz, Louis Menand, and Lawrence Rainey Volume 8: From Formalism to -
Thursday 8Th September 2016
BRITISH SHAKESPEARE ASSOCATION 2016 CONFERENCE SCHEDULE THURSDAY 8TH SEPTEMBER 2016: 1pm: COACHES Depart (from Holiday Inn Express, Ferensway, to Hull Campus) 1pm – 1.55: REGISTRATION, Derwent Cafe, Derwent Building 1.55 – 2pm: CONFERENCE OPENS (Welcome: Ann Kaegi, University of Hull) 2pm – 3pm: Plenary Lecture 1 (Allam Lecture Theatre, Derwent Building): Richard Wilson (Kingston University), ‘Wheel of Fire: memory, mourning and the Shakespeare Memorial Theatre’ (Chair: Richard Meek, University of Hull) 3pm - 3.25: Tea/Coffee 3.30 – 5pm: PARALLEL PANELS 1: 1A: Panel: ‘Early Modern Afterlives’ (Derwent Seminar Room 5/5A) (Chair: José Peréz Diez, University of Leeds) Kibrina Davey (Sheffield Hallam University), ‘Combining Twelfth Night and King Lear to evade emotional expiry in John Ford’s The Lover’s Melancholy’ Gabriella Edelstein (University of Sydney), ‘Shakespeare’s afterlives in the plays of John Fletcher’ Robbie Hand (King’s College, London), ‘(Re)writing history in Henry V and The Shoemaker’s Holiday’ 1B: Panel: ‘Shakespeare in Russia and Czechoslovakia’ (Derwent Lecture Theatre 2) (Chair: Janet Clare, University of Hull) Ranjana Banerjee (Jawaharlal Nehru University), ‘Mapping King Lear in Russian space’ Marina Kizima (Moscow State Institute of International Relations), ‘Shakespeare in A. P. Chekov’s letters’ Eva Spisiakova (Edinburgh University), ‘Sonnet translations in Communist and post-communist Czechoslovakia’ 1C: Panel: ‘Audience Interactions’ (Derwent Seminar Room 3) (Chair: Ramona Wray, Queen’s University, Belfast) -
Shakespeare's Troilus and Cressida
Shakespeare’s Troilus and Cressida: Audience Expectation and Matters of Taste in Relation to Authorship and the Book Johann Gregory A thesis submitted in candidature for the degree of Doctor of Philosophy Cardiff University 2013 © Johann Gregory, 2013 All Rights Reserved SUMMARY Questions concerning whether Shakespeare wrote for the stage or the page are a perennial issue in Shakespeare studies. Part of the problem rests on expectations of literature and theatre. These expectations are in fact voiced in Shakespearean drama itself, a drama that often articulates ideas concerning audience expectations. In Shakespeare’s Troilus and Cressida, before Troilus visits Cressida he exclaims “expectation whirls me round”. Of all the plays in the Shakespearean canon, variants of “expect” feature most in this play. Troilus and Cressida itself scrutinises expectation of a story with famous classical, medieval and contemporary precedents, for a play to be performed by the leading theatre company of the day, and of a play by a playwright who was also conscious of his role as a published author. In the play, characters are frequently staged as spectators or audience members, raising issues relating to expectations, taste, value judgements, and viewpoints. Shakespeare responds to the plays of his contemporaries and, arguably, the political scene as well. The thesis reworks Pierre Bourdieu’s theory of the literary field to gauge the way that Shakespeare’s play engages with its theatrical and literary environment, and resituates Bourdieu’s work on taste