By Terence Hawkes
Substitute Shakespeares, released in 1985, shook up the realm of Shakespearean reviews, demythologising Shakespeare and making use of new theories to the learn of his paintings. substitute Shakespeares: quantity 2 investigates Shakespearean feedback over a decade later, introducing new debates and new theorists into the body. either demonstrated students and new names look right here, delivering a extensive cross-section of up to date Shakespearean reports, together with psychoanalysis, sexual and gender politics, race and new historicism. replacement Shakespeares: quantity 2 represents the leading edge of latest Shakespearean reports. This urgently-needed addition to a vintage paintings of literary feedback is one that lecturers and students will welcome.
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Additional info for Alternative Shakespeares: Volume 2 With an afterword by John Drakakis
8 This entails, to my mind, a methodological shift toward a form of cultural or anthropological criticism capable of addressing a level of historical and cultural specificity that exceeds the grasp of ideological criticism per se, especially insofar as such specificity relates to the diverse, heterogeneous and often non-discursive cultural practices and processes of the social formation–what Williams called the ‘internal dynamic relations’ of hegemonic cultures, and whose dynamics he seemed principally concerned to open up to a more broadly conceived ideological/cultural analysis.
247-8);3 and she does it by promising what she frequently, but not predictably, fails to deliver, by being inconsistently elsewhere. Cleopatra’s most repeated seductive strategy, in other words, is not to be where Antony might expect to find her. Sometimes this is ALTERNATIVE SHAKESPEARES 2 43 figurative, a question of her state of mind, or behaviour, as in the case where she instructs Charmian, See where he is, who's with him, what he does. I did not send you. If you find him sad, Say I am dancing; if in mirth, report That I am sudden sick… (I.
2 Is it conceivable, in other words, that what another culture finds seductive is altogether more diffuse than our quasi-scientific sexual taxonomies allow? II Among fictional figures, Shakespeare’s Cleopatra is surely supremely seductive. Beautiful, ageless, mistress of all the arts of love, mysterious, Eastern, magical, Shakespeare’s Egyptian Queen transmutes Plutarch’s calculating courtesan into myth, becoming in the process the origin of a succession of recreations by George Bernard Shaw and Cecil B.
Alternative Shakespeares: Volume 2 With an afterword by John Drakakis by Terence Hawkes