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Shakespeare and Literary Theory (Paperback)
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Shakespeare and Literary Theory (Paperback)
Series: Oxford Shakespeare Topics
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OXFORD SHAKESPEARE TOPICS General Editors: Peter Holland and
Stanley Wells Oxford Shakespeare Topics provide students and
teachers with short books on important aspects of Shakespeare
criticism and scholarship. Each book is written by an authority in
its field, and combines accessible style with original discussion
of its subject. How is it that the British literary critic Terry
Eagleton can say that 'it is difficult to read Shakespeare without
feeling that he was almost certainly familiar with the writings of
Hegel, Marx, Nietzsche, Freud, Wittgenstein and Derrida', or that
the Slovenian psychoanalytic theorist Slavoj Zizek can observe that
'Shakespeare without doubt had read Lacan'? Shakespeare and
Literary Theory argues that literary theory is less an external set
of ideas anachronistically imposed on Shakespeare's texts than a
mode - or several modes - of critical reflection inspired by, and
emerging from, his writing. These modes together constitute what we
might call 'Shakespearian theory': theory that is not just about
Shakespeare but also derives its energy from Shakespeare. To name
just a few examples: Karl Marx was an avid reader of Shakespeare
and used Timon of Athens to illustrate aspects of his economic
theory; psychoanalytic theorists from Sigmund Freud to Jacques
Lacan have explained some of their most axiomatic positions with
reference to Hamlet; Michel Foucault's early theoretical writing on
dreams and madness returns repeatedly to Macbeth; Jacques Derrida's
deconstructive philosophy is articulated in dialogue with
Shakespeare's plays, including Romeo and Juliet; French feminism's
best-known essay is Helene Cixous's meditation on Antony and
Cleopatra; certain strands of queer theory derive their impetus
from Eve Kosofsky Sedgwick's reading of the Sonnets; Gilles Deleuze
alights on Richard III as an exemplary instance of his theory of
the war machine; and postcolonial theory owes a large debt to Aime
Cesaire's revision of The Tempest. By reading what theoretical
movements from formalism and structuralism to cultural materialism
and actor-network theory have had to say about and in concert with
Shakespeare, we can begin to get a sense of how much the DNA of
contemporary literary theory contains a startling abundance of
chromosomes - concepts, preoccupations, ways of using language -
that are of Shakespearian provenance.
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