The untold story of Shakespeare’s profound influence on Virginia Woolf and the rest of the Bloomsbury Group   For the men and women of the Bloomsbury Group, Shakespeare was a constant presence and a creative benchmark. Not only the works they intended for publication—the novels, biographies, economic and political writings, stage designs and reviews—but also their diaries and correspondence, their gossip and small talk turned regularly on Shakespeare. They read his plays for pleasure in the evenings, and on sunny summer afternoons in the country. They went to the theater, discussed performances, and speculated about Shakespeare’s mind. As poet, as dramatist, as model and icon, as elusive “life,� Shakespeare haunted their imaginations and made his way, through phrase, allusion, and oblique reference, into their own lives and art.   This is a book about Shakespeare in Bloomsbury—about the role Shakespeare played in the lives of a charismatic and influential cast, including Virginia and Leonard Woolf, Vanessa Bell, Clive Bell, Roger Fry, Duncan Grant, Lytton Strachey, John Maynard Keynes and Lydia Lopokova Keynes, Desmond and Molly MacCarthy, and James and Alix Strachey. All are brought to sparkling life in Marjorie Garber’s intimate account of how Shakespeare provided them with a common language, a set of reference points, and a model for what they did not hesitate to call genius. Among these brilliant friends, Garber shows, Shakespeare was in effect another, if less fully acknowledged, member of the Bloomsbury Group.

The plays of Shakespeare are filled with ghosts - and ghost writing. Shakespeare's Ghost Writers is an examination of the authorship controversy surrounding Shakespeare: the claim made repeatedly that the plays were ghost written. Ghosts take the form of absences, erasures, even forgeries and signatures - metaphors extended to include Shakespeare himself and his haunting of us, and in particular theorists such Derrida, Marx, Nietzsche, and Freud - the figure of Shakespeare constantly made and remade by contemporary culture. Marjorie Garber, one of the most eminent Shakespearean theorists writing today, asks what is at stake in the imputation that "Shakespeare" did not write the plays, and shows that the plays themselves both thematize and theorize that controversy. This Routledge Classics edition contains a new preface and new chapter by the author.

The title of this collection, Profiling Shakespeare, is meant strongly, in its double sense. These essays show the outline of a Shakespeare rather different from the man sought so earnestly and eagerly by biographers from his time to our own. And they also show the effects, the ephemera, the clues and cues, welcome and unwelcome, out of which Shakespeare's admirers, citers, fans and dedicated scholars have pieced together a vision of the playwright, whether as sage, lover, psychologist, guidance counselor, or successful businessman. This collection brings together classic pieces, hard-to-find chapters, and two new essays. Here, Garber has produced a series of essays at once serious and highly readable, each one ranging broadly across time periods (early modern to postmodern) and touching upon both high and popular culture.

Contents: Preface 1. Shakespeare's Ghost Writers 2. Hamlet: Giving Up the Ghost 3. Macbeth: The Male Medusa 4. Shakespeare as Fetish 5. Character Assassination 6. Out of Joint 7. Roman Numerals 8. Second-Best Bed 9. Shakespeare's Dogs 10. Shakespeare's Laundry List 11. Shakespeare's Faces 12. MacGuffin Shakespeare 13. Fatal Cleopatra 14. What Did Shakespeare Invent? 15. Bartlett's Familiar Shakespeare

The title of this collection, Profiling Shakespeare, is meant strongly, in its double sense. These essays show the outline of a Shakespeare rather different from the man sought so earnestly and eagerly by biographers from his time to our own. And they also show the effects, the ephemera, the clues and cues, welcome and unwelcome, out of which Shakespeare's admirers, citers, fans and dedicated scholars have pieced together a vision of the playwright, whether as sage, lover, psychologist, guidance counselor, or successful businessman. This collection brings together classic pieces, hard-to-find chapters, and two new essays. Here, Garber has produced a series of essays at once serious and highly readable, each one ranging broadly across time periods (early modern to postmodern) and touching upon both high and popular culture.

Contents: Preface 1. Shakespeare's Ghost Writers 2. Hamlet: Giving Up the Ghost 3. Macbeth: The Male Medusa 4. Shakespeare as Fetish 5. Character Assassination 6. Out of Joint 7. Roman Numerals 8. Second-Best Bed 9. Shakespeare's Dogs 10. Shakespeare's Laundry List 11. Shakespeare's Faces 12. MacGuffin Shakespeare 13. Fatal Cleopatra 14. What Did Shakespeare Invent? 15. Bartlett's Familiar Shakespeare

The Medusa Reader is the first major anthology of primary and critical material on this enigmatic figure, a symbol of all that is irresistible, fascinating and terrifying. Ranging from classical times to pop culture, this collection will appeal to art historians, feminists, classicists, cultural critics and anyone interested in mythology.

In this new book of essays, brilliant cultural critic Marjorie Garber turns to the history of words, great writers, everyday speech, and the painted image to spin tales about the way we live. Written with characteristic verve, Quotation Marks considers, among other subjects, how we depend on the most quotable men and women in history to bolster what we have to say. What does morality have to do with style? What's the difference between work and 'work'? What do we admire and what do we imitate, and what does either have to do with love? Why are sequels so enticing, she asks?
Reading these essays is to experience the pleasure of watching a remarkable critic grapple with the curious and the everyday, and make both speak to the question between the quotation marks: 'Who are we now?'

Based on a conference held at the Center for Literary Studies at Harvard University, this collection of essays from the leading scholars in literature, philosophy, politics, and medicine casts new light on the wide range of ethical debates raging today, from bioethics and the ethics of political action to the ethics of reading and making distinctions between morality and ethics.

Based on a conference held at the Center for Literary Studies at Harvard University, this collection of essays from scholars in literature, philosophy, politics, and medicine seeks to shed new light on the wide range of ethical debates raging today; from bioethics and the ethics of political action to the ethics of reading and making distinctions between morality and ethics.

Is America a religious nation? A nation of many religions? Is there an American religion? One Nation Under God is a remarkable consideration of how religion manifests itself in America today. Drawing on the extraordinary diversity of America's cultures, this gathering of distinguished scholars considers such subjects as the nature of public religious expression, African American civic virtue, the relation between law and religion, religion in secular society, the Holocaust Memorial, the cloistered closet, cults of death, and the sacralization of Elvis. Piety and popular culture, public space and private, the secular and the sacred all converge in America's religious experience.

One Nation Under God? is a remarkable consideration of how religion manifests itself in America today.

The plays of Shakespeare are filled with ghosts--and ghost writing. In "Shakespeare's Ghost Writers, " Marjorie Garber begins with an examination of the authorship controversy surrounding Shakespeare: the claim made repeatedly that the plays were ghostwritten. Garber asks what is at stake in the imputation that "Shakespeare" did not write the plays and argues that the plays themselves both thematize and theorize that controversy.

Drawing upon the work of anthropologists, psychologists and sociologists, Marjorie Garber examines the rites of passage and maturation patterns--"coming of age"--in Shakespeare's plays. Citing examples from virutally the entire Shakespeare canon, she pays particular attention to the way his characters grow and change at points of personal crisis. Among the crises Garber discusses are: separation from parent or sibling in preparation for sexual love and the choice of husband or wife; the use of names and nicknames as a sign of individual exploits or status; virginity, sexual initiation and the acceptance of sexual maturity, childbearing and parenthood; and, finally, attitudes toward death and dying.
In this fascinating and original analysis, Marjorie Garber explores the ways in which the Shakespearean protagonist is challenged to change as his or her circumstances change--to adapt to the world and the people around him, and to come to terms with the nature and finitude of the human condition.

First published in 1993. Routledge is an imprint of Taylor and Francis, an informa company.

This presents an account of current thinking on central issues within and beyond the humanities today. Brings together leading figures such as Sacvan Bercovitch, Helen Vendler, Anthony Appiah, Norman Bryson, Seyla Benhabib and Marjorie Garber.

This volume of presents an account of current thinking on central issues within and beyond the humanities. It brings together such leading figures as Sacvan Bercovitch and Helen Vendler, Anthony Appiah and Barbara Johnson, Seyla Benhabib and Norman Bryson, Martha Minow and Henry Louis Gates,Jr, Marjorie Garber and Susan Suleiman. It explores such questions as: What is culture? What are cultures? Are literary texts and cultural texts different? What do literary and other fields engaged in cultural work have in common? What can literary studies profitably do with other disciplines? and What can cultural studies tell us about culture ?

The 1950's trial of the Rosenburgs on charges of 'atomic spying' came to stand in many minds for the paranoia of the Cold War. Many of the issues are still with us and the contributors draw salient connections between that time and this.

Series Information:
CultureWork: A Book Series from the Center for Literary and Cultural Studies at Harvard

Marjorie Garber examines the rites of passage and maturation patterns--"coming of age"--in Shakespeare's plays. Citing examples from virtually the entire Shakespeare canon, she pays particular attention to the way his characters grow and change at points of personal crisis. Among the crises Garber discusses are: separation from parent or sibling in preparation for sexual love and the choice of husband or wife; the use of names and nicknames as a sign of individual exploits or status; virginity, sexual initiation and the acceptance of sexual maturity, childbearing and parenthood; and, finally, attitudes toward death and dying.

"Bisexuality is about three centuries overdue . . . nevertheless, here it is: a learned, witty study of how our curious culture has managed to get everything wrong about sex." -Gore Vidal

Dream is a central image for Shakespeare, encompassing at once the terrors of the irrational and the creative powers of the imagination—one's deepest fears and highest aspirations. Used in the early plays as a verbal or structural device, dream becomes, in the tragedies and late romances, a transforming experience which leads the dreamer toward a moment of self-awareness. In this illuminating study, now reissued with a new preface by the author, Marjorie Garber skillfully charts the development of Shakespeare's use of dream from the opening lines of Richard III to the magic of A Midsummer Night’s Dream to Hamlet’s most famous soliloquy.   Drawing on the works of Freud and other psychologists, but basing its argument on the language and dramatic structure of the plays themselves, Dream in Shakespeare presents a coherent and innovative reading of the plays and their developing concept of dream.  

The Medusa Reader is the first major anthology of primary and critical material on this enigmatic figure, a symbol of all that is irresistible, fascinating and terrifying. Ranging from classical times to pop culture, this collection will appeal to art historians, feminists, classicists, cultural critics and anyone interested in mythology.

The plays of Shakespeare are filled with ghosts a " and ghost writing. Shakespeare's Ghost Writers is an examination of the authorship controversy surrounding Shakespeare: the claim made repeatedly that the plays were ghost written.

Ghosts take the form of absences, erasures, even forgeries and signatures a " metaphors extended to include Shakespeare himself and his haunting of us, and in particular theorists such Derrida, Marx, Nietzsche, and Freud a " the figure of Shakespeare constantly made and remade by contemporary culture.

Marjorie Garber, one of the most eminent Shakespearean theorists writing today, asks what is at stake in the imputation that "Shakespeare" did not write the plays, and shows that the plays themselves both thematize and theorize that controversy.

This Routledge Classics edition contains a new preface and new chapter by the author.

Beginning with the bold claim, "There can be no culture without the transvestite," Marjorie Garber explores the nature and significance of cross-dressing and of the West's recurring fascination with it. Rich in anecdote and insight, Vested Interests offers a provocative and entertaining view of our ongoing obsession with dressing up--and with the power of clothes.

When we speak of the English Renaissance, what is it that we are naming, what are we recognizing reborn? As the essays in this latest collection from the English Institute demonstrate, our basic notions of the period have themselves been reconceived. In "Cannibals, Witches, and Divorce," seven critics defamiliarize the images of the Renaissance "to permit the repressed to return, to acknowledge the presence of the unassimilable ghost the mark of difference of an age that is at once self and 'other'."

John Hollander discovers a "hidden undersong" in the Spenserian lyric, while Patricia Parker examines the question of feminine dominance and male resistance in the Bower of Bliss. Stephen Orgel and Steven Mullaney document the Renaissance encounter with the alien "other" in essays on "The Tempest" and "The Merchant of Venice." "Macbeth," in Janet Adelman's reading, encodes the fantasy of an absolute and destructive maternal figure. Marjorie Garber addresses the Shakespearean authorship controversy in the context of the subversive uncanniness of the texts themselves; Mary Nyquist discusses Milton's Eve, his divorce tracts, and the exegetical tradition as recently examined by feminist biblical scholars. Together, these essays explore Renaissance discourses of estrangement as strategies for the construction of the self and the world.