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Shakespeare's English: A Practical Linguistic Guide
by Keith JohnsonShakespeare's English: A Practical Linguistic Guide provides students with a solid grounding for understanding the language of Shakespeare and its place within the development of English. With a prime focus on Shakespeare and his works, Keith Johnson covers all aspects of his language (vocabulary, grammar, sounds, rhetorical structure etc.), and gives illuminating background information on the linguistic context of the Elizabethan Age. As well as providing a unique introduction to the subject, Johnson encourages a "hands-on" approach, guiding students, through the use of activities, towards an understanding of how Shakespeare's English works. This book offers: · A unique approach to the study of Early Modern English which enables students to engage independently with the topic · Clear and engagingly written explanations of linguistic concepts · Plentiful examples and activities, including suggestions for further work · A glossary, further reading suggestions and guidance to relevant websites Shakespeare's English is perfect for undergraduate students following courses that combine English language, linguistics and literature, or anyone with an interest in knowing more about the language with which Shakespeare worked his literary magic.
Shakespeare's Englishes: Against Englishness
by Margaret Tudeau-ClaytonWhose English is 'true' English? What is its relation to the national character? These were urgent questions in Shakespeare's England just as questions of language and identity are today. Through close readings of early comedies and history plays, this study demonstrates how Shakespeare resists the shaping of ideas of the English language and national character by Protestant Reformation ideology. Tudeau-Clayton argues this ideology promoted the notional temperate and honest citizen, plainly spoken and plainly dressed, as the normative centre of (the) 'true' English. Compelling studies of two symmetrical pairs of cultural memes: 'the King's English' versus 'the gallimaufry' and 'the true-born Englishman' versus the 'Fantastical Gull', that demonstrate how 'the traitor' came to be defined as much by non-conformity to cultural 'habits' as by allegiance to the monarch. Tudeau-Clayton cogently argues Shakespeare subverted this narrow, class-inflected concept of English identity, proposing instead an inclusive, mixed and unlimited community of 'our English'.
Shakespeare's Erotic Mythology and Ovidian Renaissance Culture
by Agnès LafontTaking cross-disciplinary and comparative approaches to the volume’s subject, this exciting collection of essays offers a reassessment of Shakespeare’s erotic and Ovidian mythology within classical and continental aesthetic contexts. Through extensive examination of mythological visual and textual material, scholars explore the transmission and reinvention of Ovidian eroticism in Shakespeare’s plays to show how early modern artists and audiences collectively engaged in redefining ways of thinking pleasure. Within the collection’s broad-ranging investigation of erotic mythology in Renaissance culture, each chapter analyses specific instances of textual and pictorial transmission, reception, and adaptation. Through various critical strategies, contributors trace Shakespeare’s use of erotic material to map out the politics and aesthetics of pleasure, unravelling the ways in which mythology informs artistic creation. Received acceptions of neo-platonic love and the Petrarchan tensions of unattainable love are revisited, with a focus on parodic and darker strains of erotic desire, such as Priapic and Dionysian energies, lustful fantasy and violent eros. The dynamics of interacting tales is explored through their structural ability to adapt to the stage. Myth in Renaissance culture ultimately emerges not merely as near-inexhaustible source material for the Elizabethan and Jacobean arts, but as a creative process in and of itself.
Shakespeare’s Extremes: Wild Man, Monster, Beast (Palgrave Shakespeare Studies)
by Julián Jiménez HeffernanShakespeare's Extremes is a controversial intervention in current critical debates on the status of the human in Shakespeare's work. By focusing on three flagrant cases of human exorbitance - Edgar, Caliban and Julius Caesar - this book seeks to limn out the domain of the human proper in Shakespeare.
Shakespeare’s Fans: Adapting the Bard in the Age of Media Fandom (Palgrave Studies in Adaptation and Visual Culture)
by Johnathan H. PopeThis book examines Shakespearean adaptations through the critical lens of fan studies and asks what it means to be a fan of Shakespeare in the context of contemporary media fandom. Although Shakespeare studies and fan studies have remained largely separate from one another for the past thirty years, this book establishes a sustained dialogue between the two fields. In the process, it reveals and seeks to overcome the problematic assumptions about the history of fan cultures, Shakespeare’s place in that history, and how fan works are defined. While fandom is normally perceived as a recent phenomenon focused primarily on science fiction and fantasy, this book traces fans’ practices back to the eighteenth century, particularly David Garrick’s Shakespeare Jubilee in 1769. Shakespeare’s Fans connects historical and scholarly debates over who owns Shakespeare and what constitutes an appropriate adaptation of his work to online fan fiction and commercially available fan works.
Shakespeare's Feminine Endings: Disfiguring Death in the Tragedies (Feminist Readings of Shakespeare)
by Philippa BerryPhilippa Berry draws on feminist theory, postmodern thought and queer theory, to challenge existing critical notions of what is fundamental to Shakespearean tragedy. She shows how, through a network of images clustered around feminine or feminized characters, these plays 'disfigure' conventional ideas of death as a bodily end, as their figures of women are interwoven with provocative meditations upon matter, time, the soul, and the body. The scope of these tragic speculations was radical in Shakespeare's day; yet they also have a surprising relevance to contemporary debates about time and matter in science and philosophy.
Shakespeare's Festive Comedy: A Study of Dramatic Form and Its Relation to Social Custom
by Cesar Lombardi BarberIn this classic work, acclaimed Shakespeare critic C. L. Barber argues that Elizabethan seasonal festivals such as May Day and Twelfth Night are the key to understanding Shakespeare's comedies. Brilliantly interweaving anthropology, social history, and literary criticism, Barber traces the inward journey--psychological, bodily, spiritual--of the comedies: from confusion, raucous laughter, aching desire, and aggression, to harmony. Revealing the interplay between social custom and dramatic form, the book shows how the Elizabethan antithesis between everyday and holiday comes to life in the comedies' combination of seriousness and levity. "I have been led into an exploration of the way the social form of Elizabethan holidays contributed to the dramatic form of festive comedy. To relate this drama to holiday has proved to be the most effective way to describe its character. And this historical interplay between social and artistic form has an interest of its own: we can see here, with more clarity of outline and detail than is usually possible, how art develops underlying configurations in the social life of a culture."--C. L. Barber, in the Introduction This new edition includes a foreword by Stephen Greenblatt, who discusses Barber's influence on later scholars and the recent critical disagreements that Barber has inspired, showing that Shakespeare's Festive Comedy is as vital today as when it was originally published.
Shakespeare's Festive Tragedy: The Ritual Foundations of Genre
by Naomi Conn LieblerShakespeare's Festive Tragedy is a unique look at the social and religious foundations of the tragic genre. Naomi Liebler asks whether it is possible to regard tragic heroes such as Coriolanus and King Lear as `sacrifical victims of the prevailing social order'. A fascinating examination of Shakespearean tragedy, this extraordinary book will provoke excitment and controversy alike.
Shakespeare's First Reader: The Paper Trails of Richard Stonley (Material Texts)
by Jason Scott-WarrenRichard Stonley has all but vanished from history, but to his contemporaries he would have been an enviable figure. A clerk of the Exchequer for more than four decades under Mary Tudor and Elizabeth I, he rose from obscure origins to a life of opulence; his job, a secure bureaucratic post with a guaranteed income, was the kind of which many men dreamed. Vast sums of money passed through his hands, some of which he used to engage in moneylending and land speculation. He also bought books, lots of them, amassing one of the largest libraries in early modern London.In 1597, all of this was brought to a halt when Stonley, aged around seventy-seven, was incarcerated in the Fleet Prison, convicted of embezzling the spectacular sum of £13,000 from the Exchequer. His property was sold off, and an inventory was made of his house on Aldersgate Street. This provides our most detailed guide to his lost library. By chance, we also have three handwritten volumes of accounts, in which he earlier itemized his spending on food, clothing, travel, and books. It is here that we learn that on June 12, 1593, he bought "the Venus & Adhonay per Shakspere"—the earliest known record of a purchase of Shakespeare's first publication.In Shakespeare's First Reader, Jason Scott-Warren sets Stonley's journals and inventories of goods alongside a wealth of archival evidence to put his life and library back together again. He shows how Stonley's books were integral to the material worlds he inhabited and the social networks he formed with communities of merchants, printers, recusants, and spies. Through a combination of book history and biography, Shakespeare's First Reader provides a compelling "bio-bibliography"—the story of how one early modern gentleman lived in and through his library.
Shakespeare's Folktale Sources
by Charlotte ArteseShakespeare’s Folktale Sources argues that seven plays—The Taming of the Shrew, Titus Andronicus, The Merry Wives of Windsor, The Merchant of Venice, All’s Well that Ends Well, Measure for Measure, and Cymbeline—derive one or more of their plots directly from folktales. In most cases, scholars have accepted one literary version of the folktale as a source. Recognizing that the same story has circulated orally and occurs in other medieval and early modern written versions allows for new readings of the plays. By acknowledging that a play’s source story circulated in multiple forms, we can see how the playwright was engaging his audience on common ground, retelling a story that may have been familiar to many of them, even the illiterate. We can also view the folktale play as a Shakespearean genre, defined by source as the chronicle histories are, that spans and traces the course of Shakespeare’s career. The fact that Shakespeare reworked folktales so frequently also changes the way we see the history of the literary folk- or fairy-tale, which is usually thought to bypass England and move from Italian novella collections to eighteenth-century French salons. Each chapter concludes with a bibliography listing versions of each folktale source as a resource for further research and teaching. Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
Shakespeare's Folktale Sources
by Charlotte ArteseShakespeare’s Folktale Sources argues that seven plays—The Taming of the Shrew, Titus Andronicus, The Merry Wives of Windsor, The Merchant of Venice, All’s Well that Ends Well, Measure for Measure, and Cymbeline—derive one or more of their plots directly from folktales. In most cases, scholars have accepted one literary version of the folktale as a source. Recognizing that the same story has circulated orally and occurs in other medieval and early modern written versions allows for new readings of the plays. By acknowledging that a play’s source story circulated in multiple forms, we can see how the playwright was engaging his audience on common ground, retelling a story that may have been familiar to many of them, even the illiterate. We can also view the folktale play as a Shakespearean genre, defined by source as the chronicle histories are, that spans and traces the course of Shakespeare’s career. The fact that Shakespeare reworked folktales so frequently also changes the way we see the history of the literary folk- or fairy-tale, which is usually thought to bypass England and move from Italian novella collections to eighteenth-century French salons. Each chapter concludes with a bibliography listing versions of each folktale source as a resource for further research and teaching. Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
Shakespeare's Folly: Philosophy, Humanism, Critical Theory (Routledge Studies in Shakespeare)
by Sam HallThis study contends that folly is of fundamental importance to the implicit philosophical vision of Shakespeare’s drama. The discourse of folly’s wordplay, jubilant ironies, and vertiginous paradoxes furnish Shakespeare with a way of understanding that lays bare the hypocrisies and absurdities of the serious world. Like Erasmus, More, and Montaigne before him, Shakespeare employs folly as a mode of understanding that does not arrogantly insist upon the veracity of its own claims – a fool’s truth, after all, is spoken by a fool. Yet, as this study demonstrates, Shakespearean folly is not the sole preserve of professional jesters and garrulous clowns, for it is also apparent on a thematic, conceptual, and formal level in virtually all of his plays. Examining canonical histories, comedies, and tragedies, this study is the first to either contextualize Shakespearean folly within European humanist thought, or to argue that Shakespeare’s philosophy of folly is part of a subterranean strand of Western philosophy, which itself reflects upon the folly of the wise. This strand runs from the philosopher-fool Socrates through to Montaigne and on to Nietzsche, but finds its most sustained expression in the Critical Theory of the mid to late twentieth-century, when the self-destructive potential latent in rationality became an historical reality. This book makes a substantial contribution to the fields of Shakespeare, Renaissance humanism, Critical Theory, and Literature and Philosophy. It illustrates, moreover, how rediscovering the philosophical potential of folly may enable us to resist the growing dominance of instrumental thought in the cultural sphere.
Shakespeare’s Foreign Queens: Drama, Politics, And The Enemy Within (Queenship and Power)
by Sandra LoganThis book examines Shakespeare’s depiction of foreign queens as he uses them to reveal and embody tensions within early modern English politics. Linking early modern and contemporary political theory and concerns through the concepts of fragmented identity, hospitality, citizenship, and banishment, Sandra Logan takes up a set of questions not widely addressed by scholars of early modern queenship. How does Shakespeare’s representation of these queens challenge the opposition between friend and enemy that ostensibly defines the context of the political? And how do these queens expose the abusive potential of the sovereign? Focusing on Katherine of Aragon in Henry VIII, Hermione in The Winter’s Tale, Tamora in Titus Andronicus, and Margaret in the first history tetralogy, Logan considers them as means for exploring conditions of vulnerability, alienation, and exclusion common to subjects of every social position, exposing the sovereign himself as the true enemy of the state.
Shakespeare's Foreign Worlds: National and Transnational Identities in the Elizabethan Age
by Carole Levin John WatkinsIn Shakespeare's Foreign Worlds, Carole Levin and John Watkins focus on the relationship between the London-based professional theater preeminently associated with William Shakespeare and an unprecedented European experience of geographic, social, and intellectual mobility. Shakespeare's plays bear the marks of exile and exploration, rural depopulation, urban expansion, and shifting mercantile and diplomatic configurations. He fills his plays with characters testing the limits of personal identity: foreigners, usurpers, outcasts, outlaws, scolds, shrews, witches, mercenaries, and cross-dressers. Through parallel discussions of Henry VI, The Taming of the Shrew, and The Merchant of Venice, Levin and Watkins argue that Shakespeare's centrality to English national consciousness is inseparable from his creation of the foreign as a category asserting dangerous affinities between England's internal minorities and its competitors within an increasingly fraught European mercantile system. As a women's historian, Levin is particularly interested in Shakespeare's responses to marginalized sectors of English society. As a scholar of English, Italian Studies, and Medieval Studies, Watkins situates Shakespeare in the context of broadly European historical movements. Together Levin and Watkins narrate the emergence of the foreign as portable category that might be applied both to "strangers" from other countries and to native-born English men and women, such as religious dissidents, who resisted conformity to an increasingly narrow sense of English identity. Shakespeare's Foreign Worlds will appeal to historians, literary scholars, theater specialists, and anyone interested in Shakespeare and the Elizabethan Age.
Shakespeare’s Forgotten Allegory: Vice, Virtue, and Spoilt Children (Routledge Studies in Shakespeare)
by Julian RealShakespeare’s Forgotten Allegory posits three startling points: that we have today forgotten a cultural icon that helped to bring about the Renaissance; that this character, used to distil classical wisdom regarding how to raise children to become moral adults, consistently appeared in plays performed between 1350 and 1650; and that the character was often utilised by the likes of Shakespeare and Ben Jonson, and therefore adds a long-forgotten allegorical narrative to their works. This evidence-based reappraisal of some of the most iconic works in Western literature suggests that a core element of their content has been ‘lost’ for centuries. This text will appeal to anyone with an interest in late medieval and early modern drama, especially the works of Shakespeare; to those interested in the history of teaching and child-rearing; to anyone curious about the practical application of philosophy in society; to anyone that would like to know more about the crucial and defining period today known as the Renaissance, and how and why society was redesigned by those with influence; and to all those who would like to know more about how history, which though sometimes misplaced, continues to influenced our modern world.
Shakespeare's Freedom
by Stephen GreenblattShakespeare lived in a world of absolutes—of claims for the absolute authority of scripture, monarch, and God, and the authority of fathers over wives and children, the old over the young, and the gentle over the baseborn. With the elegance and verve for which he is well known, Stephen Greenblatt, author of the best-selling Will in the World, shows that Shakespeare was strikingly averse to such absolutes and constantly probed the possibility of freedom from them. Again and again, Shakespeare confounds the designs and pretensions of kings, generals, and churchmen. His aversion to absolutes even leads him to probe the exalted and seemingly limitless passions of his lovers. Greenblatt explores this rich theme by addressing four of Shakespeare’s preoccupations across all the genres in which he worked. He first considers the idea of beauty in Shakespeare’s works, specifically his challenge to the cult of featureless perfection and his interest in distinguishing marks. He then turns to Shakespeare’s interest in murderous hatred, most famously embodied in Shylock but seen also in the character Bernardine in Measure for Measure. Next Greenblatt considers the idea of Shakespearean authority—that is, Shakespeare’s deep sense of the ethical ambiguity of power, including his own. Ultimately, Greenblatt takes up Shakespearean autonomy, in particular the freedom of artists, guided by distinctive forms of perception, to live by their own laws and to claim that their creations are singularly unconstrained. A book that could only have been written by Stephen Greenblatt, Shakespeare’s Freedom is a wholly original and eloquent meditation by the most acclaimed and influential Shakespearean of our time.
Shakespeare's Freedom (Campbell Lectures)
by Stephen GreenblattShakespeare lived in a world of absolutes—of claims for the absolute authority of scripture, monarch, and God, and the authority of fathers over wives and children, the old over the young, and the gentle over the baseborn. With the elegance and verve for which he is well known, Stephen Greenblatt, author of the best-selling Will in the World, shows that Shakespeare was strikingly averse to such absolutes and constantly probed the possibility of freedom from them. Again and again, Shakespeare confounds the designs and pretensions of kings, generals, and churchmen. His aversion to absolutes even leads him to probe the exalted and seemingly limitless passions of his lovers. Greenblatt explores this rich theme by addressing four of Shakespeare’s preoccupations across all the genres in which he worked. He first considers the idea of beauty in Shakespeare’s works, specifically his challenge to the cult of featureless perfection and his interest in distinguishing marks. He then turns to Shakespeare’s interest in murderous hatred, most famously embodied in Shylock but seen also in the character Bernardine in Measure for Measure. Next Greenblatt considers the idea of Shakespearean authority—that is, Shakespeare’s deep sense of the ethical ambiguity of power, including his own. Ultimately, Greenblatt takes up Shakespearean autonomy, in particular the freedom of artists, guided by distinctive forms of perception, to live by their own laws and to claim that their creations are singularly unconstrained. A book that could only have been written by Stephen Greenblatt, Shakespeare’s Freedom is a wholly original and eloquent meditation by the most acclaimed and influential Shakespearean of our time.
Shakespeare's Ghost Writers: Literature as Uncanny Causality
by Marjorie GarberThe plays of Shakespeare are filled with ghosts – and ghost writing. Shakespeare's Ghost Writers is an examination of the authorship controversy surrounding Shakespeare: the claim made repeatedly that the plays were ghost written. Ghosts take the form of absences, erasures, even forgeries and signatures – metaphors extended to include Shakespeare himself and his haunting of us, and in particular theorists such Derrida, Marx, Nietzsche, and Freud – the figure of Shakespeare constantly made and remade by contemporary culture. Marjorie Garber, one of the most eminent Shakespearean theorists writing today, asks what is at stake in the imputation that "Shakespeare" did not write the plays, and shows that the plays themselves both thematize and theorize that controversy. This Routledge Classics edition contains a new preface and new chapter by the author.
Shakespeare's Ghost Writers: Literature As Uncanny Causality (Routledge Classics Ser.)
by Marjorie GarberThe plays of Shakespeare are filled with ghosts - and ghost writing. Shakespeare's Ghost Writers is an examination of the authorship controversy surrounding Shakespeare: the claim made repeatedly that the plays were ghost written. Ghosts take the form of absences, erasures, even forgeries and signatures - metaphors extended to include Shakespeare himself and his haunting of us, and in particular theorists such Derrida, Marx, Nietzsche, and Freud - the figure of Shakespeare constantly made and remade by contemporary culture. Marjorie Garber, one of the most eminent Shakespearean theorists writing today, asks what is at stake in the imputation that "Shakespeare" did not write the plays, and shows that the plays themselves both thematize and theorize that controversy. This Routledge Classics edition contains a new preface and new chapter by the author.
Shakespeare’s Global Sonnets: Translation, Appropriation, Performance (Global Shakespeares)
by Jane Kingsley-Smith W. Reginald Rampone Jr.This edited collection brings together scholars from across the world, including France, Italy, Germany, Hungary, Japan, the USA and India, to offer a truly international perspective on the global reception of Shakespeare’s Sonnets from the 18th century to the present. Global Shakespeare has never been so local and familiar as it is today. The translation, appropriation and teaching of Shakespeare’s plays across the world have been the subject of much important recent work in Shakespeare studies, as have the ethics of Shakespeare’s globalization. Within this discussion, however, the Sonnets are often overlooked. This book offers a new global history of the Sonnets, including the first substantial study of their translation and of their performance in theatre, music and film. It will appeal to anyone interested in the reception of the Sonnets, and of Shakespeare across the world.
Shakespeare's God: The Role of Religion in the Tragedies
by Ivor MorrisFirst published in 1972. Shakespeare's God investigates whether a religious interpretation of Shakespeare's tragedies is possible. The study places Christianity's commentary on the human condition side by side with what tragedy reveals about it. This pattern is identified using the writings of Christian thinkers from Augustine to the present day. The pattern in the chief phenomena of literary tragedy is also traced
Shakespeare's Great Stage of Fools
by Robert H. BellThis lively, lucid book undertakes a detailed and provocative study of Shakespeare's fascination with clowns, fools, and fooling. Through close reading of plays over the whole course of Shakespeare's theatrical career, Bell highlights the fun, wit, insights, and mysteries of some of Shakespeare's most vibrant and often vexing figures.
Shakespeare's Great Tragedies: Experiencing Their Impact (Routledge Studies in Shakespeare)
by John HardyShakespeare's great tragedies portray through their richly imagined worlds the inescapable fact of human mortality. As the work of a great creative genius, they are so diverse that critical formulas used to describe their overall impact tend to be somewhat suspect. Their impact follows from a response to the entire dramatic action, what is felt at the end with the weight or experience of the whole play behind it. It draws on how our feelings and judgement are exercised and engaged throughout the drama. Shakespeare portrays what life can be like, without pandering to the wish for something easier to contemplate. Something more invigorating than consolation is provided, such art at its greatest achieving the strength of truth. What it compels is a complex acceptance, reflected in Edgar's words, "The weight of this sad time we must obey". Not only implicit positives give value to these plays. Their significance finally results from what they imaginatively invite their audience to experience and witness. This gives a sense not only of the value of life, but also of what can threaten it.
Shakespeare’s Guide to Hope, Life, and Learning
by Lisa Dickson Shannon Murray Jessica Riddell"What is the most wonderful thing about teaching this play in our classrooms?" Using this question as a starting point, Shakespeare’s Guide to Hope, Life, and Learning presents a conversation between four of Shakespeare’s most popular plays and our modern experience, and between teachers and learners. The book analyzes King Lear, As You Like It, Henry V, and Hamlet, revealing how they help us to appreciate and responsibly interrogate the perspectives of others. Award-winning teachers Lisa Dickson, Shannon Murray, and Jessica Riddell explore a diversity of genres – tragedy, history, and comedy – with distinct perspectives from their own lived experiences. They carry on lively conversations in the margins of each essay, mirroring the kind of open, ongoing, and collaborative thinking that Shakespeare inspires. The book is informed by ideas of social justice and transformation, articulated by such thinkers as Paulo Freire, Parker J. Palmer, Ira Shor, John D. Caputo, and bell hooks. Shakespeare’s Guide to Hope, Life, and Learning advocates for a critical hope that arises from classroom experiences and moves into the world at large.
Shakespeare's Guide to Parenting
by James AndrewsTrust father of three William Shakespeare for all the advice you need for any parenting dilemma, in this witty and erudite guide—a handy collection of wisdom drawn from his most beloved works, from Hamlet to King Lear to Much Ado About Nothing.With a series of cunningly extracted lines from his best-loved plays and sonnets, hilariously illustrated in a simple, almost child-like style, James Andrews proves once again that Shakespeare—expert on love, death, vanity, ambition, war, deceit, regret—is the font of all wisdom, including raising children.Your thirsty toddler wakes you up at 3 a.m. Shakespeare describes your thoughts perfectly:What cursed foot wanders this way tonight? (Romeo and Juliet)Your child throws a temper tantrum, clinging to your legs. Shakespeare has the perfect response:Vile thing, let loose, or I will shake thee from me like a serpent. (A Midsummer Night’s Dream)Your son throws a booze party, crashes the car, or commits some other vaguely humiliating infraction or minor illegal act. Shakespeare feels your pain:Good wombs have borne bad sons. (The Tempest)And for your fussy, ungrateful eater? Shakespeare has an answer:I’ll make you feed on berries and on roots, and feed on curds and whey, and suck the goat! (Titus Andronicus)Organized by periods of parenting hell—from the newborn nightmares to the teenage trials—Shakespeare’s Guide to Parenting is the perfect gift book for every literary parent or parent to be. If you want the last word with your children, nothing beats a quote from Shakespeare.