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Shakespeare and Complexity Theory (Routledge Studies in Shakespeare)
by Claire HansenIn this new monograph, Claire Hansen demonstrates how Shakespeare can be understood as a complex system, and how complexity theory can provide compelling and original readings of Shakespeare’s plays. The book utilises complexity theory to illuminate early modern theatrical practice, Shakespeare pedagogy, and the phenomenon of the Shakespeare ‘myth’. The monograph re-evaluates Shakespeare, his plays, early modern theatre, and modern classrooms as complex systems, illustrating how the lens of complexity offers an enlightening new perspective on diverse areas of Shakespeare scholarship. The book’s interdisciplinary approach enriches our understanding of Shakespeare and lays the foundation for complexity theory in Shakespeare studies and the humanities more broadly.
Shakespeare and Conceptual Blending
by Michael BoothThis book shows how Shakespeare's excellence as storyteller, wit and poet reflects the creative process of conceptual blending. Cognitive theory provides a wealth of new ideas that illuminate Shakespeare, even as he illuminates them, and the theory of blending, or conceptual integration, strikingly corroborates and amplifies both classic and current insights of literary criticism. This study explores how Shakespeare crafted his plots by fusing diverse story elements and compressing incidents to strengthen dramatic illusion; considers Shakespeare's wit as involving sudden incongruities and a reckoning among differing points of view; interrogates how blending generates the "strange meaning" that distinguishes poetic expression; and situates the project in relation to other cognitive literary criticism. This book is of particular significance to scholars and students of Shakespeare and cognitive theory, as well as readers curious about how the mind works.
Shakespeare and Conceptual Blending: Cognition, Creativity, Criticism (PDF)
by Michael BoothThis book shows how Shakespeare’s excellence as storyteller, wit and poet reflects the creative process of conceptual blending. Cognitive theory provides a wealth of new ideas that illuminate Shakespeare, even as he illuminates them, and the theory of blending, or conceptual integration, strikingly corroborates and amplifies both classic and current insights of literary criticism. This study explores how Shakespeare crafted his plots by fusing diverse story elements and compressing incidents to strengthen dramatic illusion; considers Shakespeare’s wit as involving sudden incongruities and a reckoning among differing points of view; interrogates how blending generates the “strange meaning” that distinguishes poetic expression; and situates the project in relation to other cognitive literary criticism. This book is of particular significance to scholars and students of Shakespeare and cognitive theory, as well as readers curious about how the mind works.
Shakespeare and Conflict: A European Perspective (Palgrave Shakespeare Studies)
by Carla Dente and Sara SonciniWhat has been the role played by principles, patterns and situations of conflict in the construction of Shakespeare's myth, and in its European and then global spread? The fascinatingly complex picture that emerges from this collection provides new insight into Shakespeare's unique position in world literature and culture.
Shakespeare and Consciousness (Cognitive Studies in Literature and Performance)
by Paul Budra and Clifford WerierThis book examines how early modern and recently emerging theories of consciousness and cognitive science help us to re-imagine our engagements with Shakespeare in text and performance. Papers investigate the connections between states of mind, emotion, and sensation that constitute consciousness and the conditions of reception in our past and present encounters with Shakespeare’s works. Acknowledging previous work on inwardness, self, self-consciousness, embodied self, emotions, character, and the mind-body problem, contributors consider consciousness from multiple new perspectives—as a phenomenological process, a materially determined product, a neurologically mediated reaction, or an internally synthesized identity—approaching Shakespeare’s plays and associated cultural practices in surprising and innovative ways.
Shakespeare and Contemporary Irish Literature
by Nicholas Taylor-Collins Stanley van der ZielThis book shows that Shakespeare continues to influence contemporary Irish literature, through postcolonial, dramaturgical, epistemological and narratological means. International critics examine a range of contemporary writers including Eavan Boland, Marina Carr, Brian Friel, Seamus Heaney, John McGahern, Frank McGuinness, Derek Mahon and Paul Muldoon, and explore Shakespeare’s tragedies, histories and comedies, as well as his sonnets. Together, the chapters demonstrate that Shakespeare continues to exert a pressure on Irish writing into the twenty-first century, sometimes because of and sometimes in spite of the fact that his writing is inextricably tied to the Elizabethan and Jacobean colonization of Ireland. Contemporary Irish writers appropriate, adopt, adapt and strategize through their engagements with Shakespeare, and indeed through his own engagement with the world around him four hundred years ago.
Shakespeare and Contemporary Theory: New Historicism and Cultural Materialism
by Neema ParviniIn the thirty years since thepublication of Stephen Greenblatt's Renaissance Self-Fashioningoverthrew traditional modes of Shakespeare criticism, New Historicism and CulturalMaterialism have rapidly become the dominant modes for studying and writingabout the Bard. This comprehensive guide introduces students to the keywriters, texts and ideas of contemporary Shakespeare criticism and alternativesto new historicist and cultural materialist approaches suggested by a range ofdissenters including evolutionary critics, historical formalists and advocatesof 'the new aestheticism', and the more politically active presentists. Shakespeare and Contemporary Theory covers such topics as: The key theoreticalinfluences on new historicism including Michel Foucault and Louis Althusser.The major critics, from Stephen Greenblatt to Jonathan Dollimore and AlanSinfield. Dissenting views from traditional critics and contemporary theorists. Chapter summaries and questions for discussion throughout encourage students tocritically engage with contemporary Shakespeare theory for themselves. The bookincludes a 'Who's Who' of major critics, a timeline of key publications and aglossary of essential critical terms to give students and teachers easy accessto essential information.
Shakespeare and Contemporary Theory: New Historicism and Cultural Materialism
by Neema ParviniIn the thirty years since thepublication of Stephen Greenblatt's Renaissance Self-Fashioningoverthrew traditional modes of Shakespeare criticism, New Historicism and CulturalMaterialism have rapidly become the dominant modes for studying and writingabout the Bard. This comprehensive guide introduces students to the keywriters, texts and ideas of contemporary Shakespeare criticism and alternativesto new historicist and cultural materialist approaches suggested by a range ofdissenters including evolutionary critics, historical formalists and advocatesof 'the new aestheticism', and the more politically active presentists. Shakespeare and Contemporary Theory covers such topics as: The key theoreticalinfluences on new historicism including Michel Foucault and Louis Althusser.The major critics, from Stephen Greenblatt to Jonathan Dollimore and AlanSinfield. Dissenting views from traditional critics and contemporary theorists. Chapter summaries and questions for discussion throughout encourage students tocritically engage with contemporary Shakespeare theory for themselves. The bookincludes a 'Who's Who' of major critics, a timeline of key publications and aglossary of essential critical terms to give students and teachers easy accessto essential information.
Shakespeare and Continental Philosophy
by Jennifer Bates Richard WilsonThis collection of 15 essays by celebrated authors in Shakespeare studies and in continental philosophy develops different aspects of the interface between continental thinking and Shakespeare's plays. The authors draw from current continental philosophy (e.g. Lacan, Foucault, Derrida) as well as from the 19th century continental tradition (e.g. Hegel, Kierkegaard) and from the early roots of continental tradition (e.g. Aristotle, Ibn Sina). The chapters address the span of the tragedies, comedies and history plays in the light of thinkers as diverse as Aristotle, Ibn Sina and Jean-Luc Marion, Hegel, Kierkegaard, Schopenhauer, Schmitt, Arendt, Lacan, Levinas, Foucault and Derrida.
Shakespeare and Costume
by Edited by Patricia Lennox Bella MirabellaInspired by new approaches in performance studies, theatre history, research in material culture and dress history, a rich discussion of the many aspects of costume in Shakespearean performance has begun. Shakespeare and Costume furthers this research, bringing together varied and stimulating essays by leading scholars that consider costume from literary, dramatic, design, performative and theatrical perspectives, as well as interviews with renowned theatre practitioners Jane Greenwood and Robert Morgan. The volume amply demonstrates how an analysis of the meaning of costume enriches our understanding of Shakespeare's plays. Beginning with an overview of the stage history of Shakespeare and costume, the volume looks at the historical context of clothing in the plays, considering topics such as royal self-fashioning, festive livery practices, and conceptions of race and gender exhibited in clothing choice, as well as costume in performance. Drawing on documentary evidence in designers' renderings, illustrations in periodicals, paintings, photographs, newspaper reviews and actors' memoirs, the volume also explores costume designs in specific Shakespeare productions from the re-opening of the London theatres in 1660 to the present day.
Shakespeare and Costume
by Patricia Lennox Bella MirabellaInspired by new approaches in performance studies, theatre history, research in material culture and dress history, a rich discussion of the many aspects of costume in Shakespearean performance has begun. Shakespeare and Costume furthers this research, bringing together varied and stimulating essays by leading scholars that consider costume from literary, dramatic, design, performative and theatrical perspectives, as well as interviews with renowned theatre practitioners Jane Greenwood and Robert Morgan. The volume amply demonstrates how an analysis of the meaning of costume enriches our understanding of Shakespeare's plays. Beginning with an overview of the stage history of Shakespeare and costume, the volume looks at the historical context of clothing in the plays, considering topics such as royal self-fashioning, festive livery practices, and conceptions of race and gender exhibited in clothing choice, as well as costume in performance. Drawing on documentary evidence in designers' renderings, illustrations in periodicals, paintings, photographs, newspaper reviews and actors' memoirs, the volume also explores costume designs in specific Shakespeare productions from the re-opening of the London theatres in 1660 to the present day.
Shakespeare and Costume in Practice (Shakespeare in Practice)
by Bridget EscolmeWhat is the role of costume in Shakespeare production? Shakespeare and Costume in Practice argues that costume design choices are central not only to the creation of period setting and the actor’s work on character, but to the cultural, political, and psychological meanings that the theatre makes of Shakespeare. The book explores questions about what the first Hamlet looked like in his mourning cloak; how costumes for a Shakespeare comedy can reflect or critique the collective nostalgias a culture has for its past; how costume and casting work together to ask new questions about Shakespeare and race. Using production case studies of Hamlet, Much Ado About Nothing, and The Tempest, the book demonstrates that costume design can be a site of experimentation, playfulness, and transgression in the theatre – and that it can provoke audiences to think again about what power, race, and gender look like on the Shakespearean stage.
Shakespeare and Creative Criticism (Shakespeare & #4)
by Rob Conkie Scott MaisanoWhat kinds of critical insights are made possible only or especially via creative strategies? This volume examines how creative modes of writing might facilitate or inform new ways to critically engage with Shakespeare. Creative writing, demonstrated in a series of essays, reflections, stories and scenes, operates as a vehicle for exploring and articulating critical and theoretical ideas. In doing so, Shakespeare’s enduring creative and critical appeal is newly understood and critiqued.
Shakespeare and Cultural Appropriation (Routledge Advances in Theatre & Performance Studies)
by Vanessa I. Corredera L. Monique Pittman Geoffrey WayShakespeare and Cultural Appropriation pushes back against two intertwined binaries: the idea that appropriation can only be either theft or gift, and the idea that cultural appropriation should be narrowly defined as an appropriative contest between a hegemonic and marginalized power. In doing so, the contributions to the collection provide tools for thinking about appropriation and cultural appropriation as spectrums constantly evolving and renegotiating between the poles of exploitation and appreciation. This collection argues that the concept of cultural appropriation is one of the most undertheorized yet evocative frameworks for Shakespeare appropriation studies to address the relationships between power, users, and uses of Shakespeare. By robustly theorizing cultural appropriation, this collection offers a foundation for interrogating not just the line between exploitation and appreciation, but also how distinct values, biases, and inequities determine where that line lies. Ultimately, this collection broadly employs cultural appropriation to rethink how Shakespeare studies can redirect attention back to power structures, cultural ownership and identity, and Shakespeare’s imbrication within those networks of power and influence. Throughout the contributions in this collection, which explore twentieth and twenty-first century global appropriations of Shakespeare across modes and genres, the collection uncovers how a deeper exploration of cultural appropriation can reorient the inquiries of Shakespeare adaptation and appropriation studies. This collection will be of great interest to students and scholars in theatre and performance studies, Shakespeare studies, and adaption studies.
Shakespeare and Cultural Appropriation (Routledge Advances in Theatre & Performance Studies)
Shakespeare and Cultural Appropriation pushes back against two intertwined binaries: the idea that appropriation can only be either theft or gift, and the idea that cultural appropriation should be narrowly defined as an appropriative contest between a hegemonic and marginalized power. In doing so, the contributions to the collection provide tools for thinking about appropriation and cultural appropriation as spectrums constantly evolving and renegotiating between the poles of exploitation and appreciation. This collection argues that the concept of cultural appropriation is one of the most undertheorized yet evocative frameworks for Shakespeare appropriation studies to address the relationships between power, users, and uses of Shakespeare. By robustly theorizing cultural appropriation, this collection offers a foundation for interrogating not just the line between exploitation and appreciation, but also how distinct values, biases, and inequities determine where that line lies. Ultimately, this collection broadly employs cultural appropriation to rethink how Shakespeare studies can redirect attention back to power structures, cultural ownership and identity, and Shakespeare’s imbrication within those networks of power and influence. Throughout the contributions in this collection, which explore twentieth and twenty-first century global appropriations of Shakespeare across modes and genres, the collection uncovers how a deeper exploration of cultural appropriation can reorient the inquiries of Shakespeare adaptation and appropriation studies. This collection will be of great interest to students and scholars in theatre and performance studies, Shakespeare studies, and adaption studies.
Shakespeare and Cultural Materialist Theory (Shakespeare and Theory)
by Christopher MarlowCultural materialism is one of the most important and one of the most provocative theories to have emerged in the last thirty years. Combining close attention to Shakespearean texts and the conditions of their production with an explicit left-wing political affiliation, cultural materialism offers readers a radical avenue through which to engage with Shakespeare and his world. Shakespeare and Cultural Materialist Theory charts the inception and development of this theory, setting out its central tenets and analysing the work of key thinkers such as Alan Sinfield, Jonathan Dollimore, Terence Hawkes and Catherine Belsey. Unlike most literary theories, cultural materialism attempts to use the study of Shakespeare to intervene in the politics of the present day, and its unsettling approach has not passed without objection, both within academia and without. This book considers the debates, scandals and controversies caused by cultural materialism, and by applying it to Shakespeare afresh, demonstrates that the theory is still very much alive and kicking.
Shakespeare and Cultural Materialist Theory (Shakespeare and Theory)
by Christopher MarlowCultural materialism is one of the most important and one of the most provocative theories to have emerged in the last thirty years. Combining close attention to Shakespearean texts and the conditions of their production with an explicit left-wing political affiliation, cultural materialism offers readers a radical avenue through which to engage with Shakespeare and his world. Shakespeare and Cultural Materialist Theory charts the inception and development of this theory, setting out its central tenets and analysing the work of key thinkers such as Alan Sinfield, Jonathan Dollimore, Terence Hawkes and Catherine Belsey. Unlike most literary theories, cultural materialism attempts to use the study of Shakespeare to intervene in the politics of the present day, and its unsettling approach has not passed without objection, both within academia and without. This book considers the debates, scandals and controversies caused by cultural materialism, and by applying it to Shakespeare afresh, demonstrates that the theory is still very much alive and kicking.
Shakespeare and Digital Pedagogy: Case Studies and Strategies
by Diana E. Henderson and Kyle Sebastian VitaleShakespeare and Digital Pedagogy is an international collection of fresh digital approaches for teaching Shakespeare. It describes 15 methodologies, resources and tools recently developed, updated and used by a diverse range of contributors in Great Britain, Australia, Asia and the United States. Contributors explore how these digital resources meet classroom needs and help facilitate conversations about academic literacy, race and identity, local and global cultures, performance and interdisciplinary thought. Chapters describe each case study in depth, recounting needs, collaborations and challenges during design, as well as sharing effective classroom uses and offering accessible, usable content for both teachers and learners.The book will appeal to a broad range of readers. College and high school instructors will find a rich trove of usable teaching content and suggestions for mounting digital units in the classroom, while digital humanities and education specialists will find a snapshot of and theories about the field itself. With access to exciting new content from local archives and global networks, the collection aids teaching, research and reflection on Shakespeare for the 21st century.
Shakespeare and Digital Pedagogy: Case Studies and Strategies
Shakespeare and Digital Pedagogy is an international collection of fresh digital approaches for teaching Shakespeare. It describes 15 methodologies, resources and tools recently developed, updated and used by a diverse range of contributors in Great Britain, Australia, Asia and the United States. Contributors explore how these digital resources meet classroom needs and help facilitate conversations about academic literacy, race and identity, local and global cultures, performance and interdisciplinary thought. Chapters describe each case study in depth, recounting needs, collaborations and challenges during design, as well as sharing effective classroom uses and offering accessible, usable content for both teachers and learners.The book will appeal to a broad range of readers. College and high school instructors will find a rich trove of usable teaching content and suggestions for mounting digital units in the classroom, while digital humanities and education specialists will find a snapshot of and theories about the field itself. With access to exciting new content from local archives and global networks, the collection aids teaching, research and reflection on Shakespeare for the 21st century.
Shakespeare and Digital Performance in Practice (Shakespeare in Practice)
by Erin SullivanShakespeare and Digital Performance in Practice explores the impact of digital technologies on the theatrical performance of Shakespeare in the twenty-first century, both in terms of widening cultural access and developing new forms of artistry. Through close analysis of dozens of productions, both high-profile and lesser known, it examines the rise of live broadcasting and recording in the theatre, the growing use of live video feeds and dynamic projections on the mainstream stage, and experiments in born-digital theatre-making, including social media, virtual reality, and video-conferencing adaptations. In doing so, it argues that technologically adventurous performances of Shakespeare allow performers and audiences to test what they believe theatre to be, as well as to reflect on what it means to be present—with a work of art, with others, with oneself—in an increasingly online world.
Shakespeare and Directing in Practice (Shakespeare in Practice)
by Kevin EwertWhen directors approach Shakespeare, is the play always the thing – or might something else sometimes be the thing? How can directing produce fresh contexts for Shakespeare’s work?Part of the innovative series Shakespeare in Practice, this book introduces students to current practices of directing Shakespeare. Ewert explores how the conventions and creative tropes of today’s theatre make meaning in Shakespeare production now. The 'In Theory' section starts with an analysis of theatre production and directing more generally before looking at the specific Shakespeare context. The 'In Practice' section offers a wonderful range of production examples that showcase the wide breadth of approaches to directing Shakespeare today, from the 'conventional' to the most experimental.Providing a useful general overview of directing Shakespeare on stage today, this is an ideal text for undergraduate and postgraduate students studying 'Shakespeare in Performance' in Literature, Drama, Theatre and Performance Studies departments. This book will also inspire students studying directing as part of a Theatre programme, and scholars, performers and lovers of Shakespeare everywhere.
Shakespeare and Directing in Practice (Shakespeare in Practice)
by Kevin EwertWhen directors approach Shakespeare, is the play always the thing – or might something else sometimes be the thing? How can directing produce fresh contexts for Shakespeare's work? Part of the innovative series Shakespeare in Practice this book introduces students to current practices of directing Shakespeare. Ewert explores how the conventions and creative tropes of today's theatre make meaning in Shakespeare production now. The 'In Theory' section starts with an analysis of theatre production and directing more generally before looking at the specific Shakespeare context. The 'In Practice' section offers a wonderful range of production examples that showcase the wide breadth of approaches to directing Shakespeare today, from the 'conventional' to the most experimental. Providing a useful general overview of directing Shakespeare on stage today, this is an ideal text for undergraduate and postgraduate students studying 'Shakespeare in Performance' in Literature, Drama, Theatre and Performance Studies departments. This book will also inspire students studying directing as part of a theatre programme, and scholars, performers and lovers of Shakespeare everywhere.
Shakespeare and Disgust: The History and Science of Early Modern Revulsion
by Bradley J. IrishDrawing on both historical analysis and theories from the modern affective sciences, Shakespeare and Disgust argues that the experience of revulsion is one of Shakespeare's central dramatic concerns. Known as the 'gatekeeper emotion', disgust is the affective process through which humans protect the boundaries of their physical bodies from material contaminants and their social bodies from moral contaminants. Accordingly, the emotion provided Shakespeare with a master category of compositional tools – poetic images, thematic considerations and narrative possibilities – to interrogate the violation and preservation of such boundaries, whether in the form of compromised bodies, compromised moral actors or compromised social orders. Designed to offer both focused readings and birds-eye coverage, this volume alternates between chapters devoted to the sustained analysis of revulsion in specific plays (Titus Andronicus, Timon of Athens, Coriolanus, Othello and Hamlet) and chapters presenting a general overview of Shakespeare's engagement with certain kinds of prototypical disgust elicitors, including food, disease, bodily violation, race and sex disgust. Disgust, the book argues, is one of the central engines of human behaviour – and, somewhat surprisingly, it must be seen as a centrepiece of Shakespeare's affective universe.
Shakespeare and Disgust: The History and Science of Early Modern Revulsion
by Bradley J. IrishDrawing on both historical analysis and theories from the modern affective sciences, Shakespeare and Disgust argues that the experience of revulsion is one of Shakespeare's central dramatic concerns. Known as the 'gatekeeper emotion', disgust is the affective process through which humans protect the boundaries of their physical bodies from material contaminants and their social bodies from moral contaminants. Accordingly, the emotion provided Shakespeare with a master category of compositional tools – poetic images, thematic considerations and narrative possibilities – to interrogate the violation and preservation of such boundaries, whether in the form of compromised bodies, compromised moral actors or compromised social orders. Designed to offer both focused readings and birds-eye coverage, this volume alternates between chapters devoted to the sustained analysis of revulsion in specific plays (Titus Andronicus, Timon of Athens, Coriolanus, Othello and Hamlet) and chapters presenting a general overview of Shakespeare's engagement with certain kinds of prototypical disgust elicitors, including food, disease, bodily violation, race and sex disgust. Disgust, the book argues, is one of the central engines of human behaviour – and, somewhat surprisingly, it must be seen as a centrepiece of Shakespeare's affective universe.
Shakespeare and Domestic Life: A Dictionary (Arden Shakespeare Dictionaries)
by Sandra ClarkThis dictionary explores the language of domestic life found in Shakespeare's work and seeks to demonstrate the meanings he attaches to it through his uses of it in particular contexts. "Domestic life" covers a range of topics: the language of the household, clothing, food, family relationships and duties; household practices, the architecture of the home, and all that conditions and governs the life of the home. The dictionary draws on recent cultural materialist research to provide in-depth definitions of the domestic language and life in Shakespeare's works, creating a richly rewarding and informative reference tool for upper level students and scholars.