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Shakespeare's Sonnets
This introduction provides a concise overview of the central issues and critical responses to Shakespeare’s sonnets, looking at the themes, images, and structure of his work, as well as the social and historical circumstances surrounding their creation. Explores the biographical mystery of the identities of the characters addressed. Examines the intangible aspects of each sonnet, such as eroticism and imagination. A helpful appendix offers a summary of each poem with descriptions of key literary figures.
Shakespeare Without Women
Shakespeare Without Women is a controversial study of female impersonation, and the connections between dramatic and political representation in Shakespeare's plays. In this original and challenging book, Callaghan argues that Shakespeare did not include women, and that his transvestite actors did not represent women, and were not, furthermore, meant to do so. All Shakespeare's actors were, of historical necessity, (white) males which meant that the portrayal of women and racial others posed unique problems for his theatre. What is important, Shakespeare Without Women claims, is not to bemoan the absence of women, Africans, or the Irish, but to determine what such absences meant in their historical context and why they matter today. Callaghan focuses in the implications of absence and exclusion in several of Shakespeare's works: * the exclusion of the female body fromTwelfth Night * the impersonation of the female voice in the original performances of the plays * racial impersonation in Othello * echoes of removal of the Gaelic Irish in The Tempest * the absence of women on stage and in public life as shown in A Midsummer Night's Dream.
The Duchess of Malfi
John Webster's classic revenge tragedy The Duchess of Malfi was first performed in 1613 and published in 1623. This guide offers students an introduction to its critical and performance history, including recent versions on stage and screen. It includes a keynote chapter outlining major areas of current research on the play and four new critical essays presenting new critical positions that offer divergent perspectives on Webster's religio-political allegiances and the politics and gendering of secrecy in the play. Finally, a guide to critical, web-based and production-related resources and an annotated bibliography provide a basis for further individual research.
A Feminist Companion to Shakespeare
The question is not whether Shakespeare studies needs feminism, but whether feminism needs Shakespeare. This is the explicitly political approach taken in the dynamic and newly updated edition of A Feminist Companion to Shakespeare. Provides the definitive feminist statement on Shakespeare for the 21st century Updates address some of the newest theatrical andcreative engagements with Shakespeare, offering fresh insights into Shakespeare’s plays and poems, and gender dynamics in early modern England Contributors come from across the feminist generations and from various stages in their careers to address what is new in the field in terms of historical and textual discovery Explores issues vital to feminist inquiry, including race, sexuality, the body, queer politics, social economies, religion, and capitalism In addition to highlighting changes, it draws attention to the strong continuities of scholarship in this field over the course of the history of feminist criticism of Shakespeare The previous edition was a recipient of a Choice Outstanding Academic Title award; this second edition maintains its coverage and range, and bringsthe scholarship right up to the present day
The Oxford History of Poetry in English
The Oxford History of Poetry in English is designed to offer a fresh, multi-voiced, and comprehensive analysis of 'poetry': from Anglo-Saxon culture through contemporary British, Irish, American, and Global culture, including English, Scottish, and Welsh poetry, Anglo-American colonial and post-colonial poetry, and poetry in Canada, Australia, New Zealand, the Caribbean, India, Africa, Asia, and other international locales. The series both synthesises existing scholarship and presents cutting-edge research, employing a global team of expert contributors for each of the volumes. Sixteenth-Century British Poetry features a history of the birth moment of modern 'English' poetry in greater detai...
Adapting King Lear for the Stage
Questioning whether the impulse to adapt Shakespeare has changed over time, Lynne Bradley argues for restoring a sense of historicity to the study of adaptation. Bradley compares Nahum Tate's History of King Lear (1681), adaptations by David Garrick in the mid-eighteenth century, and nineteenth-century Shakespeare burlesques to twentieth-century theatrical rewritings of King Lear, and suggests latter-day adaptations should be viewed as a unique genre that allows playwrights to express modern subject positions with regard to their literary heritage while also participating in broader debates about art and society. In identifying and relocating different adaptive gestures within this historica...
Rethinking Infrastructure Across the Humanities
Infrastructure comprises a combination of sociotechnical, political, and cultural arrangements that provide resources and services. The contributors to this volume show, in their respective fields, how infrastructures are both generative forces and the materialized products of quotidian practices that affect and guide people's lives. Organized via shared conceptual foci, this volume demonstrates infrastructuralist perspectives as an important transdisciplinary approach within the humanities.
AS YOU LIKE IT BY WILLIAM SHAKESPEARE
A pastoral comedy written by William Shakespeare, As You Like It is regarded as one of his greatest comedies for more than four centuries now. The play is set up mostly in the Forest of Arden, and it narrates the story of Rosalind and Celia's experiences with disguises and desires. While the readers also remain engaged with the issues of primogeniture and exile informing the tensions between the two sets of brothers Oliver-Orlando and Duke Senior (Ferdinand)-Duke Frederick, respectively, the play’s true captivating nature is lent by characters like Audrey, Silvius, Phoebe and Adam, who come from the lower social strata. The play ends on a note of forgiveness, reunion and understanding. The analysis of ‘The idea of the pastoral’ and ‘The operations of gender’, both the primary subjects of criticism, have been given a special focus in the two extremely informative critical essays included at the end of the book. Key Features • Fully-annotated text explained in an easy-to-understand language. • Detailed introduction to the play encourages readers to critically examine the background and the various aspects of the play. • Act-wise Summary given at the end of each Act.
Woman and Gender in Renaissance Tragedy
Aprovechando recientes descubrimientos en la critica y la teoria psicoanalitica, este estudio feminista ofrece una lectura radical sobre el sexo en la tragedia renacentista, examinando construcciones como la de "mujer" a traves del lenguaje, la ideologia y la subjetividad. La autora rebate la idea de que las heroinas principales del drama de los siglos xvi y xvii puedan considerarse representantes de la mujer renacentista e intenta dar una nueva vision sobre el tema. A traves del profundo analisis textual de las tragedias de shakespeare, el rey lear, otelo, la duquesa de malfi y el diablo blanco, callaghan demuestra que las categorias sexuales expuestas dentro y fuera del texto dramatico son precarias, problematicas y meramente culturales. La investigacion se ha basado en los propios textos, las condiciones de su produccion y las de su recepcion o reproduccion en la tradicion critica literaria del siglo xx.
True Relations
In the motley ranks of seventeenth-century print, one often comes upon the title True Relation. Purportedly true relations describe monsters, miracles, disasters, crimes, trials, and apparitions. They also convey discoveries achieved through exploration or experiment. Contemporaries relied on such accounts for access to information even as they distrusted them; scholars today share both their dependency and their doubt. What we take as evidence, Frances E. Dolan argues, often raises more questions than it answers. Although historians have tracked dramatic changes in evidentiary standards and practices in the period, these changes did not solve the problem of how to interpret true relations o...
