Books > Language & Literature > Literature: history & criticism > Plays & playwrights > 16th to 18th centuries > Shakespeare studies & criticism
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Late Shakespeare - A New World of Words (Hardcover)
Loot Price: R6,326
Discovery Miles 63 260
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Late Shakespeare - A New World of Words (Hardcover)
Series: Oxford English Monographs
Expected to ship within 12 - 17 working days
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Shakespeare's late plays are usually seen in terms of courtliness
and escapism. But the critical tradition has been too decorous.
Neither neo-Christian pieties nor high-political allegory can
account for the works' audacity and surprise, or the popular
investment in both their form and meaning. Post-structuralist and
historicist approaches show the indeterminacy and materiality of
language, but rarely identify how particular figures (words and
characters) capture and energise contested history. Recent
criticism tends to put a pre-emptive `master-paradigm' above all
else; a more sinuous, minutely attentive critical vocabulary is
needed to apprehend Shakespeare's turbulent, precise, teeming
metaphorical discourse. Late Shakespeare: A New World of Words
reappraises the origins of authority, language, and decorum, and
the prospects for each. Through his portrayal of `popular'
desire--in his rustics, clowns, rogues, slaves, women--Shakespeare
presents worlds which explore the meaning of the `subject', and the
potential for effective transformatory agency. Rather than a
Jonsonian (or perhaps earlier Shakespearian) verisimilitude, with
each person discrete and verifiable, Shakespeare's characters
embody metaphor-in-process; like the revamped romance genre itself,
they `take on' surrounding turbulence. The plays show the stormy
consequences of hegemonic violence. The subsequent exile to
wilderness allows for contingent novelty: new liberties are tested
amid the wreckage or recapitulation of old forms. The plays pit
possible sources of regeneration (romantic pastoral, semi-populist
humanism) against more primal violence and rebelliousness. Finally,
the book argues against a conventional sense of the plays' movement
towards divinely sanctioned closure; mischief, irony, polysemy
remain; romance's political problems are competitive, multiple, and
tumescently unpredictable.
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