Politeness (Brown and Gilman 1989;Rudanko 1993;Kopytko 1995) and impoliteness (Culpeper 1996,2001;Bousfield 2007) have a prominent place in the reading of Shakespearean drama and serve as a means of ...characterisation. In this study, I utilise (im)politeness and face theory to characterise the royal discourse in 1, 2, 3 Henryvi. The study aims to analyse the linguistic behaviour of King Henry vi to see how well his royal discourse reflects his kingship and how his linguistic inadequacy contributes to his political failures. I investigate Henry’s use of (im)politeness and facework to handle political negotiations and I evaluate his level of awareness of the “political face”, which is the king’s desire to preserve a positive public image and to save face in social interactions. I look at the examples of Henry’s inadequate linguistic behaviour and try to establish why this behaviour was inefficient in a given scene and context.
Roman Women in Shakespeare and His Contemporaries explores the crucial role of Roman female characters in the plays of Shakespeare and his contemporaries. While much has been written on male ...characters in the Roman plays as well as on non-Roman women in early modern English drama, very little attention has been paid to the issues of what makes Roman women 'Roman' and what their role in those plays is beyond their supposed function as supporting characters for the male protagonists. Through the exploration of a broad array of works produced by such diverse playwrights as Samuel Brandon, William Shakespeare, Matthew Gwynne, Ben Jonson, John Fletcher, Philip Massinger, Thomas May, and Nathaniel Richards under three such different monarchs as Elizabeth I, James I, and Charles I, Roman Women in Shakespeare and His Contemporaries contributes to a more precise assessment of the practices through which female identities were discussed in literature in the specific context of Roman drama and a more nuanced understanding of the ways in which accounts of Roman women were appropriated, manipulated and recreated in early modern England.
Time out of joint Boyce, Niall
The Lancet (British edition),
04/2016, Letnik:
387, Številka:
10029
Journal Article
Recenzirano
But why are his plays continually performed? Why is it that almost every day, wherever you are, you can go and see a Shakespeare play in a theatre near you? The traditional explanation is that the ...playwright somehow captured universal truths about human nature. My psychiatry training makes me suspicious of this argument; when one sees a multiplicity of states of mind day-to-day, it can seem that the idea of a single, simple, unchanging "human nature" doesn't stand up to too much scrutiny.
Starting with St. Paul's argument that the Greeks were afflicted with homosexuality to punish their excessive love of statues, Richard Halpern uncovers a tradition in which aesthetic experience gives ...birth to the sexual-and thus reverses the Freudian thesis that erotic desire is sublimated into art. Rather, Halpern argues, sodomy was implicated with aesthetic categories from the very start, as he traces a connection between sodomy and the unrepresentable that runs from Shakespeare's Sonnets to Oscar Wilde's novellaThe Portrait of Mr. W.H., Freud's famous essay on Leonardo da Vinci, and Jacques Lacan's seminar on the ethics of psychoanalysis. Drawing on theology, alchemy, psychoanalysis, philosophy, and literary criticism,Shakespeare's Perfumeexplores how the history of aesthetics and the history of sexuality are fundamentally connected.
Great Shakespeareans offers a systematic account of those figures who have had the greatest influence on the interpretation, understanding and cultural reception of Shakespeare, both nationally and ...internationally. In this volume, leading scholars assess the contribution of Sir Walter Scott, Charles Dickens, George Eliot and Thomas Hardy to the afterlife and reception of Shakespeare and his plays. Each substantial contribution assesses the double impact of Shakespeare on the figure covered and of the figure on the understanding, interpretation and appreciation of Shakespeare, provide a sketch of their subject's intellectual and professional biography and an account of the wider cultural context, including comparison with other figures or works within the same field.
The ‘book’ — both material and metaphoric — is a recurring theme in William Shakespeare’s plays: it is held by Hamlet as he turns through revenge to madness; buried deep in the mudded ooze by ...Prospero when he has shaken out his art like music and violence; forced by Richard II to withstand the mortality of deposition, fetishised by lovers, tormented by pedagogues, lost by kings, written by the alienated, and hung about war with the blood of lost voices. The ‘book’ begins and ends Shakespeare’s dramatic career as change itself, standing the distance between violence and hope, between holding and losing. This book is about the book in Shakespeare’s plays and focuses on seven plays, not only for the chronology and range they present, but also for their particular relationship to the book — whether it is political or humanist, cognitive or illusory, satirical or sexual, spiritual or secular, social or subjective. It is argued that the book on stage, its literal and semantic presence, offers one of the most articulate and developed hermeneutic tools available for the study of early modern English culture.
This original study explores a vital aspect of early modern cultural history: the way that warfare is represented in the theatre of Shakespeare and his contemporaries.
This collection of essays offers a panoramic plethora of responses to Shakespeare by both Western and Eastern critics, indicating that the Bard crosses all nationalities and deserves to be defined as ...a global writer, which is why he is easily appreciated, manipulated, translated, adapted, and interpreted by everyone everywhere. Divided into three parts, this volume deals with a wide range of issues on culture and multiculturalism, and hammers home the idea that the works of Shakespeare can be not only universally understood, but also fully integrated into other cultures.
Are some of Shakespeares romantic storybook heroines actually emoting sexually obscene (but very funny) lines? {"Sexual quibbles (puns, play-on words), covertly uttered by precious and pure ...heroines, call for a revision of viewpoint."} When Fernando (T.
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