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Shakespeare Left and Right brings together critics, strikingly
different in their politics and methodologies, who are acutely
aware of the importance of politics on literary practice and
theory. Should, for example, feminist criticism be subjected to a
critique by voices it construes as hostile to its political agenda?
Is it possible to present a critique of feminist criticism without
implicitly impeding its politics? And, in the light of recent
political events should the Right pronounce the demise of Marxism
as a social science and interpretive tool? The essays in
Shakespeare Left and Right, first published in 1991, present a tug
of war about ideology, acted out over the body of Shakespeare. Part
One focuses on the challenge thrown down by Richard Levin's widely
discussed "Feminist Thematics and Shakespearean Tragedy". Part Two
considers these issues in relation to critical practice and the
reading of specific plays. This book should be of interest to
undergraduates and academics interested in Shakespeare studies.
Shakespeare Left and Right brings together critics, strikingly
different in their politics and methodologies, who are acutely
aware of the importance of politics on literary practice and
theory. Should, for example, feminist criticism be subjected to a
critique by voices it construes as hostile to its political agenda?
Is it possible to present a critique of feminist criticism without
implicitly impeding its politics? And, in the light of recent
political events should the Right pronounce the demise of Marxism
as a social science and interpretive tool? The essays in
Shakespeare Left and Right, first published in 1991, present a tug
of war about ideology, acted out over the body of Shakespeare. Part
One focuses on the challenge thrown down by Richard Levin's widely
discussed "Feminist Thematics and Shakespearean Tragedy". Part Two
considers these issues in relation to critical practice and the
reading of specific plays. This book should be of interest to
undergraduates and academics interested in Shakespeare studies.
Over the past 20 years, feminist criticism has done more than any
other form of literary criticism in bringing significant changes in
how Shakespeare's works are read and studied. What is more,
feminist criticism has changed the way English departments hire
faculty, how the literary canon is conceived, how classes are
taught and what gets published in journals. This anthology charts
some of the major developments and accomplishments in Shakespearian
gender studies over the last two decades. It includes readings in
individual essays of Much Ado About Nothing, The Rape of Lucrece,
Hamlet, Henry VI, Othello, The Tempest, Richard III, The Taming of
the Shrew, The Merchant of Venice and Twelfth Night.
This study explores the Stuart history play, a genre often viewed
as an inferior or degenerate version of the exemplary Elizabethan
dramatic form. Writing in the shadow of Marlowe and Shakespeare,
Stuart playwrights have traditionally been evaluated through the
aesthetic assumptions and political concerns of the sixteenth
century. Ivo Kamps's study traces the development of Jacobean drama
in the radically changed literary and political environment of the
seventeenth century. He shows how historiographical developments in
this period materially affected the structure of the history play.
As audiences became increasingly skeptical of the comparatively
simple teleological narratives of the Tudor era, a demand for new
ways of staging history emerged. Kamps demonstrates how Stuart
drama capitalized on this new awareness of historical narrative to
undermine inherited forms of literary and political authority.
Historiography and ideology in Stuart drama is the first sustained
attempt to account for a neglected genre, and a sophisticated
reading of the relationship between literature, history, and
political power.
This study explores the Stuart history play, a genre often viewed
as an inferior or degenerate version of the exemplary Elizabethan
dramatic form. Writing in the shadow of Marlowe and Shakespeare,
Stuart playwrights have traditionally been evaluated through the
aesthetic assumptions and political concerns of the sixteenth
century. Ivo Kamps's study traces the development of Jacobite drama
in the radically changed literary and political environment of the
seventeenth century. He shows how historiographical developments in
this period materially affected the structure of the history play.
As audiences became increasingly sceptical of the comparatively
simple teleological narratives of the Tudor era, a demand for new
ways of staging history emerged. Kamps demonstrates how Stuart
drama capitalised on this new awareness of historical narrative to
undermine inherited forms of literary and political authority. This
book is the first sustained attempt to account for a neglected
genre, and a sophisticated reading of the relationship between
literature, history and political power.
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