Richard III, Troilus and Cressida, Antony and Cleopatra--these
were figures of intense signification long before Shakespeare took
up the task of giving them new life on the stage. And when he did,
Linda Charnes argues, he used these legendary figures to explore a
new kind of fame--notorious identity--an infamy based not on the
moral and ethical "use value" of legend but on a commodification of
identity itself: one that must be understood in the context of
early modern England's emergent capitalism and its conditions of
economic, textual, theatrical, and cultural reproduction. Ranging
across cultural materialism, new historicism, feminist
psychoanalysis, cultural anthropology, deconstruction, and theories
of postmodernity, the author practices a "theory without
organs"--which she provocatively calls a constructive "New
Hystericism"--retheorizing the discourses of reigning methodologies
as much as those in Shakespeare's plays.
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