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The Merry Wives of Windsor has recently experienced a resurgence of
critical interest. At times considered one of Shakespeare's weaker
plays, it is often dismissed or marginalized; however, developments
in feminist, ecocritical and new historicist criticism have opened
up new perspectives and this collection of 18 essays by top
Shakespeare scholars sheds fresh light on the play. The detailed
introduction by Phyllis Rackin and Evelyn Gajowski provides a
historical survey of the play and ties into an evolving critical
and cultural context. The book's sections look in turn at female
community/female agency; theatrical alternatives; social and
theatrical contexts; desire/sexuality; nature and performance to
provide a contemporary critical analysis of the play.
The Merry Wives of Windsor is a much neglected comedy by
Shakespeare. Initially popular, it was subsequently dismissed and
marginalised as one of his weakest plays. However, recent
developments in feminist, ecocritical and new historicist criticism
have led to a revival of interest, and this collection of 17 essays
by top Shakespeare scholars sheds new light on the play. The
detailed introduction by Evelyn Gajowski and Phyllis Rackin
provides a historical survey of the play s reception and ties into
an evolving critical and cultural context. The book s sections look
in turn at Female Community/ Female Agency, Theatrical
Alternatives, Social and Theatrical Contexts, Desire/Sexuality,
Nature, and Performance to provide contemporary critical analysis
of the play."
Shakespeare and Adaptation Theory reconsiders, after 20 years of
intense critical and creative activity, the theory and practice of
adapting Shakespeare to different genres and media. Organized
around clusters of key metaphors, the book explicates the principal
theories informing the field of Shakespearean adaptation and
surveys the growing field of case studies by Shakespeare scholars.
Each chapter also looks anew at a specific Shakespeare play from
the perspective of a prevailing set of theories and metaphors.
Having identified the key critics responsible for developing these
metaphors and for framing the discussion in this way, Iyengar moves
on to analyze afresh the implications of these critical frames for
adaptation studies as a whole and for particular Shakespeare plays.
Focusing each chapter around a different play, the book contrasts
comic, tragic, and tragicomic modes in Shakespeare's oeuvre and
within the major genres of adaptation (e.g., film,
stage-production, novel and digital media). Each chapter seasons
its theoretical discussions with a lively sprinkling of allusions
to Shakespeare - ranging from TikTok to tissue-boxes, from folios
and fine arts to fan work. To conclude each chapter, the author
provides a case-study of three or four significant and interesting
adaptations from different genres or media. A glossary of terms
compiled by Philip Gilreath and the author completes the book.
There is no Shakespeare without text. Yet readers often do not
realize that the words in the book they hold, like the dialogue
they hear from the stage, has been revised, augmented and emended
since Shakespeare’s lifetime. An essential resource for the
history of Shakespeare on the page, Shakespeare and Textual Theory
traces the explanatory underpinnings of these changes through the
centuries. After providing an introduction to early modern printing
practices, Suzanne Gossett describes the original quartos and
folios as well as the first collected editions. Subsequent sections
summarize the work of the ‘New Bibliographers’ and the radical
challenge to their technical analysis posed by poststructuralist
theory, which undermined the presumed stability of author and text.
Shakespeare and Textual Theory presents a balanced view of the
current theoretical debates, which include the nature of the
surviving texts we call Shakespeare’s; the relationship of the
author ‘Shakespeare’ and of authorial intentions to any of
these texts; the extent and nature of Shakespeare’s collaboration
with others; and the best or most desirable way to present the
texts - in editions or performances. The book is illustrated
throughout with examples showing how theoretical decisions affect
the text of Shakespeare’s plays, and case studies of Hamlet and
Pericles demonstrate how different theories complicate both text
and meaning, whether a play survives in one version or several. The
conclusion summarizes the many ways in which beliefs about
Shakespeare’s texts have changed over the centuries.
Over the last 20 years, the concept of 'economic' activity has come
to seem inseparable from psychological, semiotic and ideological
experiences. In fact, the notion of the 'economy' as a discrete
area of life seems increasingly implausible. This returns us to the
situation of Shakespeare's England, where the financial had yet to
be differentiated from other forms of representation. This book
shows how concepts and concerns that were until recently considered
purely economic affected the entire range of sixteenth and
seventeenth century life. Using the work of such critics as
Jean-Christophe Agnew, Douglas Bruster, Hugh Grady and many others,
Shakespeare and Economic Theory traces economic literary criticism
to its cultural and historical roots, and discusses its main
practitioners. Providing new readings of Timon of Athens, King
Lear, The Winter's Tale, The Merchant of Venice, Measure for
Measure, Julius Caesar, Macbeth and The Tempest, David Hawkes shows
how it can reveal previously unappreciated qualities of
Shakespeare's work.
There is no Shakespeare without text. Yet readers often do not
realize that the words in the book they hold, like the dialogue
they hear from the stage, has been revised, augmented and emended
since Shakespeare's lifetime. An essential resource for the history
of Shakespeare on the page, Shakespeare and Textual Theory traces
the explanatory underpinnings of these changes through the
centuries. After providing an introduction to early modern printing
practices, Suzanne Gossett describes the original quartos and
folios as well as the first collected editions. Subsequent sections
summarize the work of the 'New Bibliographers' and the radical
challenge to their technical analysis posed by poststructuralist
theory, which undermined the presumed stability of author and text.
Shakespeare and Textual Theory presents a balanced view of the
current theoretical debates, which include the nature of the
surviving texts we call Shakespeare's; the relationship of the
author 'Shakespeare' and of authorial intentions to any of these
texts; the extent and nature of Shakespeare's collaboration with
others; and the best or most desirable way to present the texts -
in editions or performances. The book is illustrated throughout
with examples showing how theoretical decisions affect the text of
Shakespeare's plays, and case studies of Hamlet and Pericles
demonstrate how different theories complicate both text and
meaning, whether a play survives in one version or several. The
conclusion summarizes the many ways in which beliefs about
Shakespeare's texts have changed over the centuries.
Arden Shakespeare and Theory provides a comprehensive analysis of
the theoretical developments that have dominated Shakespeare
studies in recent years, as well as those that are emerging at the
present moment. Each volume provides: · a clear definition of a
particular theory; · a survey of its major theorists and critics;
· an analysis of its significance in Shakespeare studies; · a
summary of relevant political, social and economic contexts; · a
wealth of suggested resources for further investigation. Reception
Theory provides readers with a unique overview and understanding of
the ways in which both audiences and readers have reacted to
Shakespeare's works historically and in the present. This study
demonstrates how recent emphases on a reader’s and a spectator's
role in the creation of meaning might allow us to contemplate
Shakespeare’s work in fresh and often provocative ways. Among the
plays included as case studies are A Midsummer Night's Dream,
Hamlet, The Tempest, King Lear and Henry V. Shakespeare and
Reception Theory pays close attention to early modern modes of
interaction in the playhouse alongside more recent assumptions that
underlie spectating and performing.
The Arden Research Handbook of Contemporary Shakespeare Criticism
is a wide-ranging, authoritative guide to research on critical
approaches to Shakespeare by an international team of leading
scholars. It contains chapters on 20 specific critical practices,
each grounded in analysis of a Shakespeare play. These practices
range from foundational approaches including character studies,
close reading and genre studies, through those that emerged in the
1970s and 1980s that challenged the preconceptions on which
traditional liberal humanism is based, including feminism, cultural
materialism and new historicism. Perspectives drawn from
postcolonial, queer studies and critical race studies, besides more
recent critical practices including presentism, ecofeminism and
cognitive ethology all receive detailed treatment. In addition to
its coverage of distinct critical approaches, the handbook contains
various sections that provide non-specialists with practical help:
an A–Z glossary of key terms and concepts, a chronology of major
publications and events, an introduction to resources for study of
the field and a substantial annotated bibliography.
Over the last 20 years, the concept of 'economic' activity has come
to seem inseparable from psychological, semiotic and ideological
experiences. In fact, the notion of the 'economy' as a discrete
area of life seems increasingly implausible. This returns us to the
situation of Shakespeare's England, where the financial had yet to
be differentiated from other forms of representation. This book
shows how concepts and concerns that were until recently considered
purely economic affected the entire range of sixteenth and
seventeenth century life. Using the work of such critics as
Jean-Christophe Agnew, Douglas Bruster, Hugh Grady and many others,
Shakespeare and Economic Theory traces economic literary criticism
to its cultural and historical roots, and discusses its main
practitioners. Providing new readings of Timon of Athens, King
Lear, The Winter's Tale, The Merchant of Venice, Measure for
Measure, Julius Caesar, Macbeth and The Tempest, David Hawkes shows
how it can reveal previously unappreciated qualities of
Shakespeare's work.
The Arden Research Handbook of Contemporary Shakespeare Criticism
is a wide-ranging, authoritative guide to research on critical
approaches to Shakespeare by an international team of leading
scholars. It contains chapters on 20 specific critical practices,
each grounded in analysis of a Shakespeare play. These practices
range from foundational approaches including character studies,
close reading and genre studies, through those that emerged in the
1970s and 1980s that challenged the preconceptions on which
traditional liberal humanism is based, including feminism, cultural
materialism and new historicism. Perspectives drawn from
postcolonial, queer studies and critical race studies, besides more
recent critical practices including presentism, ecofeminism and
disability all receive detailed treatment. In addition to its
coverage of distinct critical approaches, the handbook contains
various sections that provide non-specialists with practical help:
an A-Z glossary of key terms and concepts, a chronology of major
publications and events, an introduction to resources for study of
the field and a substantial annotated bibliography.
Shakespeare and Queer Theory is an indispensable guide on the
ongoing critical debates about queer method both within and beyond
Shakespeare and early modern studies. Clearly elucidating the
central ideas of the theory, the field's historical emergence from
feminist and gay and lesbian studies within the academy, and
political activism related to the AIDS crisis beyond it, it also
illuminates current debates about historicism and embodiment.
Through a series of original readings of texts including Othello,
The Merchant of Venice, and Venus and Adonis, as well as film
adaptations of early modern drama including Derek Jarman's The
Tempest and Edward II, Gus Van Sant's My Own Private Idaho, Baz
Luhrmann's Romeo + Juliet, and Julie Taymor's Titus, it illustrates
the value of queer theory to Shakespeare scholarship, and the value
of Shakespearean texts to queer theory.
Shakespeare and Queer Theory is an indispensable guide on the
ongoing critical debates about queer method both within and beyond
Shakespeare and early modern studies. Clearly elucidating the
central ideas of the theory, the field's historical emergence from
feminist and gay and lesbian studies within the academy, and
political activism related to the AIDS crisis beyond it, it also
illuminates current debates about historicism and embodiment.
Through a series of original readings of texts including Othello,
The Merchant of Venice, and Venus and Adonis, as well as film
adaptations of early modern drama including Derek Jarman's The
Tempest and Edward II, Gus Van Sant's My Own Private Idaho, Baz
Luhrmann's Romeo + Juliet, and Julie Taymor's Titus, it illustrates
the value of queer theory to Shakespeare scholarship, and the value
of Shakespearean texts to queer theory.
Shakespeare and Adaptation Theory reconsiders, after 20 years of
intense critical and creative activity, the theory and practice of
adapting Shakespeare to different genres and media. Organized
around clusters of key metaphors, the book explicates the principal
theories informing the field of Shakespearean adaptation and
surveys the growing field of case studies by Shakespeare scholars.
Each chapter also looks anew at a specific Shakespeare play from
the perspective of a prevailing set of theories and metaphors.
Having identified the key critics responsible for developing these
metaphors and for framing the discussion in this way, Iyengar moves
on to analyze afresh the implications of these critical frames for
adaptation studies as a whole and for particular Shakespeare plays.
Focusing each chapter around a different play, the book contrasts
comic, tragic, and tragicomic modes in Shakespeare's oeuvre and
within the major genres of adaptation (e.g., film,
stage-production, novel and digital media). Each chapter seasons
its theoretical discussions with a lively sprinkling of allusions
to Shakespeare - ranging from TikTok to tissue-boxes, from folios
and fine arts to fan work. To conclude each chapter, the author
provides a case-study of three or four significant and interesting
adaptations from different genres or media. A glossary of terms
compiled by Philip Gilreath and the author completes the book.
Arden Shakespeare and Theory provides a comprehensive analysis of
the theoretical developments that have dominated Shakespeare
studies in recent years, as well as those that are emerging at the
present moment. Each volume provides: · a clear definition of a
particular theory; · a survey of its major theorists and critics;
· an analysis of its significance in Shakespeare studies; · a
summary of relevant political, social and economic contexts; · a
wealth of suggested resources for further investigation. Reception
Theory provides readers with a unique overview and understanding of
the ways in which both audiences and readers have reacted to
Shakespeare's works historically and in the present. This study
demonstrates how recent emphases on a reader’s and a spectator's
role in the creation of meaning might allow us to contemplate
Shakespeare’s work in fresh and often provocative ways. Among the
plays included as case studies are A Midsummer Night's Dream,
Hamlet, The Tempest, King Lear and Henry V. Shakespeare and
Reception Theory pays close attention to early modern modes of
interaction in the playhouse alongside more recent assumptions that
underlie spectating and performing.
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