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Reading Shakespeare in the Movies: Non-Adaptations and Their
Meaning analyzes the unacknowledged, covert presence of
Shakespearean themes, structures, characters, and symbolism in
selected films. Writers and directors who forge an unconscious,
unintentional connection to Shakespeare's work create
non-adaptations, cinema that is unexpectedly similar to certain
Shakespeare plays while remaining independent as art. These films
can illuminate core semantic issues in those plays in ways that
direct adaptations cannot. Eric S. Mallin explores how Shakespeare
illuminates these movies, analyzing the ways that The Godfather,
Memento, Titanic, Birdman, and The Texas Chainsaw Massacre take on
new life in dialogue with the famous playwright. In addition to
challenging our ideas about adaptation, Mallin works to inspire new
awareness of the meanings of Shakespearean stories in the
contemporary world.
Reading Shakespeare in the Movies: Non-Adaptations and Their
Meaning analyzes the unacknowledged, covert presence of
Shakespearean themes, structures, characters, and symbolism in
selected films. Writers and directors who forge an unconscious,
unintentional connection to Shakespeare's work create
non-adaptations, cinema that is unexpectedly similar to certain
Shakespeare plays while remaining independent as art. These films
can illuminate core semantic issues in those plays in ways that
direct adaptations cannot. Eric S. Mallin explores how Shakespeare
illuminates these movies, analyzing the ways that The Godfather,
Memento, Titanic, Birdman, and The Texas Chainsaw Massacre take on
new life in dialogue with the famous playwright. In addition to
challenging our ideas about adaptation, Mallin works to inspire new
awareness of the meanings of Shakespearean stories in the
contemporary world.
"Shakespeare Now!" is a series of short books of truly vital
literary scholarship, each with its own distinctive form.
"Shakespeare Now!" recaptures the excitement of Shakespeare; it
doesn't assume we know him already, or that we know the best
methods for approaching his plays. "Shakespeare Now!" is a new
generation of critics, unafraid of risk, on a series of
intellectual adventures. Above all - it is a new Shakespeare,
freshly present in each volume. In "Godless Shakespeare", Mallin
argues that there is a profound absence of, or hostility to, God in
Shakespeare's plays. It is clear that Shakespeare engaged with and
deployed much of his culture's broadly religious interests: his
language is shot through with biblical quotations, priestly
sermonizing, Christian imagery and miracle-play style allegory.
However, he claims that a counter-discourse also emerges in the
works, arguing against God, or the idea of God. This is a polemical
account of the absence of God and of belief in the plays, and of
how this absence functions in theatrical moments of crux and
crisis. Following Dante's three part structure for the "Divine
Comedy" - the first part (Inferno) represents expressions of
religious faith in Shakespeare's plays, the second (Purgatorio)
sets out more sceptical positions, and the last (Paradiso)
articulations of godlessness. The discussion focuses on the moral
and spiritual dilemmas of major characters, developing the often
subtle transitions between belief, scepticism and atheism and
suggesting that there is a liberating potential in unbelief.
"Shakespeare Now!" is a series of short books of truly vital
literary scholarship, each with its own distinctive form.
"Shakespeare Now!" recaptures the excitement of Shakespeare; it
doesn't assume we know him already, or that we know the best
methods for approaching his plays. "Shakespeare Now!" is a new
generation of critics, unafraid of risk, on a series of
intellectual adventures. Above all - it is a new Shakespeare,
freshly present in each volume. In "Godless Shakespeare", Mallin
argues that there is a profound absence of, or hostility to, God in
Shakespeare's plays. It is clear that Shakespeare engaged with and
deployed much of his culture's broadly religious interests: his
language is shot through with biblical quotations, priestly
sermonizing, Christian imagery and miracle-play style allegory.
However, he claims that a counter-discourse also emerges in the
works, arguing against God, or the idea of God. This is a polemical
account of the absence of God and of belief in the plays, and of
how this absence functions in theatrical moments of crux and
crisis. Following Dante's three part structure for the "Divine
Comedy" - the first part (Inferno) represents expressions of
religious faith in Shakespeare's plays, the second (Purgatorio)
sets out more sceptical positions, and the last (Paradiso)
articulations of godlessness. The discussion focuses on the moral
and spiritual dilemmas of major characters, developing the often
subtle transitions between belief, scepticism and atheism and
suggesting that there is a liberating potential in unbelief.
Combining the resources of new historicism, feminism, and
postmodern textual analysis, Eric Mallin reveals how contemporary
pressures left their marks on three Shakespeare plays written at
the end of Elizabeth's reign. Close attention to the language of
Troilus and Cressida, Hamlet, and Twelfth Night reveals the ways
the plays echo the events and anxieties that accompanied the
beginning of the seventeenth century. Troilus reflects the
rebellion of the Earl of Essex and the failure of the courtly,
chivalric style. Hamlet resonates with the danger of the bubonic
plague and the difficult succession history of James I. Twelfth
Night is imbued with nostalgia for an earlier period of Elizabeth's
rule, when her control over religious and erotic affairs seemed
more secure. This title is part of UC Press's Voices Revived
program, which commemorates University of California Press's
mission to seek out and cultivate the brightest minds and give them
voice, reach, and impact. Drawing on a backlist dating to 1893,
Voices Revived makes high-quality, peer-reviewed scholarship
accessible once again using print-on-demand technology. This title
was originally published in 1995.
Combining the resources of new historicism, feminism, and
postmodern textual analysis, Eric Mallin reveals how contemporary
pressures left their marks on three Shakespeare plays written at
the end of Elizabeth's reign. Close attention to the language of
Troilus and Cressida, Hamlet, and Twelfth Night reveals the ways
the plays echo the events and anxieties that accompanied the
beginning of the seventeenth century. Troilus reflects the
rebellion of the Earl of Essex and the failure of the courtly,
chivalric style. Hamlet resonates with the danger of the bubonic
plague and the difficult succession history of James I. Twelfth
Night is imbued with nostalgia for an earlier period of Elizabeth's
rule, when her control over religious and erotic affairs seemed
more secure. This title is part of UC Press's Voices Revived
program, which commemorates University of California Press's
mission to seek out and cultivate the brightest minds and give them
voice, reach, and impact. Drawing on a backlist dating to 1893,
Voices Revived makes high-quality, peer-reviewed scholarship
accessible once again using print-on-demand technology. This title
was originally published in 1995.
It is October 1592. Christopher Marlowe, the most accomplished
playwright in London, has written The Massacre at Paris for his
company, the Lord Admiral's Men. Bubonic plague has hit outlying
parishes, forcing theaters to close and postponing the season.
Ordinarily, the Rose Theatre would debut Marlowe's work, but its
subject-the St. Bartholomew Day's Massacre-is unpleasant and
mightinflame hostilities against Catholics and their sympathizers,
such as merchants on whom trade depends. A new company, the Lord
Strange's Men, boasts a young writer, William Shakespeare, who is
said to have several barnburners in the queue. A competition is
called to decide which company will reopen the theaters. Who will
most effectively represent the nation's ideals and energies, its
humor and grandeur? One troupe will gain supremacy, primarily for
literary but also for cultural, religious, and political reasons.
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