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We celebrate Shakespeare as a creator of plays and poems,
characters and ideas, words and worlds. But so too, in the four
centuries since his death in 1616, have thinkers, writers, artists
and performers recreated him. Readers of this book are invited to
explore Shakespeare's afterlife on the stage and on the screen, in
poetry, fiction, music and dance, as well as in cultural and
intellectual life. A series of concise introductory essays are here
combined with personal reflections by prominent contemporary
practitioners of the arts. At once a celebration and a critical
response, the book explores Shakespeare as a global cultural figure
who continues to engage artists, audiences and readers of all
kinds. Includes contributions from: John Ashbery, Shaul Bassi,
Simon Russell Beale, Sally Beamish, David Bintley, Michael
Bogdanov, Kenneth Branagh, Debra Ann Byrd, John Caird, Antoni
Cimolino, Wendy Cope, Gregory Doran, Margaret Drabble, Dominic
Dromgoole, Ellen Geer, Michael Holroyd, Gordon Kerry, John
Kinsella, Juan Carlos Liberti, Lachlan Mackinnon, David Malouf,
Javier Marias, Yukio Ninagawa, Janet Suzman, Salley Vickers, Rowan
Williams, Lisa Wolpe, Greg Wyatt. All proceeds from the sale of
this volume will be donated to the International Shakespeare
Association, to support the study and appreciation of Shakespeare
around the world.
We celebrate Shakespeare as a creator of plays and poems,
characters and ideas, words and worlds. But so too, in the four
centuries since his death in 1616, have thinkers, writers, artists
and performers recreated him. Readers of this book are invited to
explore Shakespeare's afterlife on the stage and on the screen, in
poetry, fiction, music and dance, as well as in cultural and
intellectual life. A series of concise introductory essays are here
combined with personal reflections by prominent contemporary
practitioners of the arts. At once a celebration and a critical
response, the book explores Shakespeare as a global cultural figure
who continues to engage artists, audiences and readers of all
kinds. Includes contributions from: John Ashbery, Shaul Bassi,
Simon Russell Beale, Sally Beamish, David Bintley, Michael
Bogdanov, Kenneth Branagh, Debra Ann Byrd, John Caird, Antoni
Cimolino, Wendy Cope, Gregory Doran, Margaret Drabble, Dominic
Dromgoole, Ellen Geer, Michael Holroyd, Gordon Kerry, John
Kinsella, Juan Carlos Liberti, Lachlan Mackinnon, David Malouf,
Javier Marias, Yukio Ninagawa, Janet Suzman, Salley Vickers, Rowan
Williams, Lisa Wolpe, Greg Wyatt. All proceeds from the sale of
this volume will be donated to the International Shakespeare
Association, to support the study and appreciation of Shakespeare
around the world.
This book's underlying claim is that English Renaissance tragedy
addresses live issues in the experience of readers and spectators
today: it is not a genre to be studied only for aesthetic or
"heritage" reasons. The book considers the way in which tragedy in
general, and English Renaissance tragedy in particular, addresses
ideas of freedom, understood both from an individual and a
sociopolitical perspective. Tragedy since the Greeks has addressed
the constraints and necessities to which human life is subject
(Fate, the gods, chance, the conflict between state and individual)
as well as the human desire for autonomy and self-direction. In
short, "English Renaissance Tragedy: Ideas of Freedom" shows how
the tragic drama of Shakespeare's age addresses problems of
freedom, slavery, and tyranny in ways that speak to us now.
Providing a provocative and original perspective on Shakespeare,
Peter Holbrook argues that Shakespeare is an author friendly to
such essentially modern and unruly notions as individuality,
freedom, self-realization and authenticity. These expressive values
vivify Shakespeare's own writing; they also form a continuous, and
a central, part of the Shakespearean tradition. Engaging with the
theme of the individual will in specific plays and poems, and
examining a range of libertarian-minded scholarly and literary
responses to Shakespeare over time, Shakespeare's Individualism
advances the proposition that one of the key reasons for reading
Shakespeare today is his commitment to individual liberty - even as
we recognize that freedom is not just an indispensable ideal but
also, potentially, a dangerous one. Engagingly written and jargon
free, this book demonstrates that Shakespeare has important things
to say about fundamental issues of human existence.
Providing a provocative and original perspective on Shakespeare,
Peter Holbrook argues that Shakespeare is an author friendly to
such essentially modern and unruly notions as individuality,
freedom, self-realization and authenticity. These expressive values
vivify Shakespeare's own writing; they also form a continuous, and
a central, part of the Shakespearean tradition. Engaging with the
theme of the individual will in specific plays and poems, and
examining a range of libertarian-minded scholarly and literary
responses to Shakespeare over time, Shakespeare's Individualism
advances the proposition that one of the key reasons for reading
Shakespeare today is his commitment to individual liberty - even as
we recognize that freedom is not just an indispensable ideal but
also, potentially, a dangerous one. Engagingly written and jargon
free, this book demonstrates that Shakespeare has important things
to say about fundamental issues of human existence.
This 1998 book takes an alternative look at the courtly masque in
early seventeenth-century England. For a generation, the masque has
been a favourite topic of New Historicism, because it has been seen
as part of the process by which artistic works interact with
politics, both shaping and reflecting the political life of a
nation. These exciting essays move importantly beyond a monolithic
view of culture and power in the production of masques, to one in
which rival factions at the courts of James I and of Charles I
represent their clash of viewpoints through dancing and spectacle.
All aspects of the masque are considered, from written text and
political context to music, stage picture and dance. The essays,
written by distinguished scholars from around the world, present an
interdisciplinary approach, with experts on dance, music, visual
spectacle and politics all addressing the masque from the point of
view of their speciality.
This 1998 book takes an alternative look at the courtly masque in
early seventeenth-century England. For a generation, the masque has
been a favourite topic of New Historicism, because it has been seen
as part of the process by which artistic works interact with
politics, both shaping and reflecting the political life of a
nation. These exciting essays move importantly beyond a monolithic
view of culture and power in the production of masques, to one in
which rival factions at the courts of James I and of Charles I
represent their clash of viewpoints through dancing and spectacle.
All aspects of the masque are considered, from written text and
political context to music, stage picture and dance. The essays,
written by distinguished scholars from around the world, present an
interdisciplinary approach, with experts on dance, music, visual
spectacle and politics all addressing the masque from the point of
view of their speciality.
This book's underlying claim is that English Renaissance tragedy
addresses live issues in the experience of readers and spectators
today: it is not a genre to be studied only for aesthetic or
"heritage" reasons. The book considers the way in which tragedy in
general, and English Renaissance tragedy in particular, addresses
ideas of freedom, understood both from an individual and a
sociopolitical perspective. Tragedy since the Greeks has addressed
the constraints and necessities to which human life is subject
(Fate, the gods, chance, the conflict between state and individual)
as well as the human desire for autonomy and self-direction. In
short, "English Renaissance Tragedy: Ideas of Freedom" shows how
the tragic drama of Shakespeare's age addresses problems of
freedom, slavery, and tyranny in ways that speak to us now.
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