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While many scholars in Shakespeare and Religious Studies assume a
secularist viewpoint in their interpretation of Shakespeare's
works, there are others that allow for a theologically coherent
reading. Located within the turn to religion in Shakespeare
studies, this book goes beyond the claim that Shakespeare simply
made artistic use of religious material in his drama. It argues
that his plays inhabit a complex and rich theological atmosphere,
individually, by genre and as a body of work. The book begins by
acknowledging that a plot-controlling God figure, or even a
consistent theological dogma, is largely absent in the plays of
Shakespeare. However, it argues that this absence is not
necessarily a sign of secularization, but functions in a
theologically generative manner. It goes on to suggest that the
plays reveal a consistent, if variant, attention to the theological
possibility of a divine "presence" mediated through human wit, both
in gracious and malicious forms. Without any prejudice for divine
intervention, the plots actually gesture on many turns toward a
hidden supernatural "actor", or God. Making bold claims about the
artistic and theological of Shakespeare's work, this book will be
of interest to scholars of Theology and the Arts, Shakespeare and
Literature more generally.
While many scholars in Shakespeare and Religious Studies assume a
secularist viewpoint in their interpretation of Shakespeare's
works, there are others that allow for a theologically coherent
reading. Located within the turn to religion in Shakespeare
studies, this book goes beyond the claim that Shakespeare simply
made artistic use of religious material in his drama. It argues
that his plays inhabit a complex and rich theological atmosphere,
individually, by genre and as a body of work. The book begins by
acknowledging that a plot-controlling God figure, or even a
consistent theological dogma, is largely absent in the plays of
Shakespeare. However, it argues that this absence is not
necessarily a sign of secularization, but functions in a
theologically generative manner. It goes on to suggest that the
plays reveal a consistent, if variant, attention to the theological
possibility of a divine "presence" mediated through human wit, both
in gracious and malicious forms. Without any prejudice for divine
intervention, the plots actually gesture on many turns toward a
hidden supernatural "actor", or God. Making bold claims about the
artistic and theological of Shakespeare's work, this book will be
of interest to scholars of Theology and the Arts, Shakespeare and
Literature more generally.
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