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This volume proposes new insights into the uses of classical
mythology by Shakespeare and his contemporaries, focusing on
interweaving processes in early modern appropriations of myth. Its
11 essays show how early modern writing intertwines diverse myths
and plays with variant versions of individual myths that derive
from multiple classical sources, as well as medieval, Tudor and
early modern retellings and translations. Works discussed include
poems and plays by William Shakespeare, Christopher Marlowe and
others. Essays concentrate on specific plays including The Merchant
of Venice and Dido Queen of Carthage, tracing interactions between
myths, chronicles, the Bible and contemporary genres. Mythological
figures are considered to demonstrate how the weaving together of
sources deconstructs gendered representations. New meanings emerge
from these readings, which open up methodological perspectives on
multi-textuality, artistic appropriation and cultural hybridity. --
.
This volume proposes new insights into the uses of classical
mythology by Shakespeare and his contemporaries, focusing on
interweaving processes in early modern appropriations of myth. Its
11 essays show how early modern writing intertwines diverse myths
and plays with variant versions of individual myths that derive
from multiple classical sources, as well as medieval, Tudor and
early modern retellings and translations. Works discussed include
poems and plays by William Shakespeare, Christopher Marlowe and
others. Essays concentrate on specific plays including The Merchant
of Venice and Dido Queen of Carthage, tracing interactions between
myths, chronicles, the Bible and contemporary genres. Mythological
figures are considered to demonstrate how the weaving together of
sources deconstructs gendered representations. New meanings emerge
from these readings, which open up methodological perspectives on
multi-textuality, artistic appropriation and cultural hybridity. --
.
Taking cross-disciplinary and comparative approaches to the
volume's subject, this exciting collection of essays offers a
reassessment of Shakespeare's erotic and Ovidian mythology within
classical and continental aesthetic contexts. Through extensive
examination of mythological visual and textual material, scholars
explore the transmission and reinvention of Ovidian eroticism in
Shakespeare's plays to show how early modern artists and audiences
collectively engaged in redefining ways of thinking pleasure.
Within the collection's broad-ranging investigation of erotic
mythology in Renaissance culture, each chapter analyses specific
instances of textual and pictorial transmission, reception, and
adaptation. Through various critical strategies, contributors trace
Shakespeare's use of erotic material to map out the politics and
aesthetics of pleasure, unravelling the ways in which mythology
informs artistic creation. Received acceptions of neo-platonic love
and the Petrarchan tensions of unattainable love are revisited,
with a focus on parodic and darker strains of erotic desire, such
as Priapic and Dionysian energies, lustful fantasy and violent
eros. The dynamics of interacting tales is explored through their
structural ability to adapt to the stage. Myth in Renaissance
culture ultimately emerges not merely as near-inexhaustible source
material for the Elizabethan and Jacobean arts, but as a creative
process in and of itself.
Taking cross-disciplinary and comparative approaches to the
volume's subject, this exciting collection of essays offers a
reassessment of Shakespeare's erotic and Ovidian mythology within
classical and continental aesthetic contexts. Through extensive
examination of mythological visual and textual material, scholars
explore the transmission and reinvention of Ovidian eroticism in
Shakespeare's plays to show how early modern artists and audiences
collectively engaged in redefining ways of thinking pleasure.
Within the collection's broad-ranging investigation of erotic
mythology in Renaissance culture, each chapter analyses specific
instances of textual and pictorial transmission, reception, and
adaptation. Through various critical strategies, contributors trace
Shakespeare's use of erotic material to map out the politics and
aesthetics of pleasure, unravelling the ways in which mythology
informs artistic creation. Received acceptions of neo-platonic love
and the Petrarchan tensions of unattainable love are revisited,
with a focus on parodic and darker strains of erotic desire, such
as Priapic and Dionysian energies, lustful fantasy and violent
eros. The dynamics of interacting tales is explored through their
structural ability to adapt to the stage. Myth in Renaissance
culture ultimately emerges not merely as near-inexhaustible source
material for the Elizabethan and Jacobean arts, but as a creative
process in and of itself.
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