Substitute Shakespeares, released in 1985, shook up the realm of Shakespearean experiences, demythologising Shakespeare and employing new theories to the learn of his paintings. substitute Shakespeares: quantity 2 investigates Shakespearean feedback over a decade later, introducing new debates and new theorists into the frame.
Both tested students and new names look the following, offering a vast cross-section of latest Shakespearean reviews, together with psychoanalysis, sexual and gender politics, race and new historicism.
Alternative Shakespeares: quantity 2 represents the vanguard of up to date Shakespearean experiences. This urgently-needed addition to a vintage paintings of literary feedback is one that academics and students will welcome.
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Extra info for Alternative Shakespeares, Volume 2
Beautiful, ageless, mistress of all the arts of love, mysterious, Eastern, magical, Shakespeare’s Egyptian Queen transmutes Plutarch’s calculating courtesan into myth, becoming in the process the origin of a succession of recreations by George Bernard Shaw and Cecil B. de Mille, for example, as well as reinterpretations by Vivien Leigh and Elizabeth Taylor in some of the most expensive movies ever made. From the moment of her first meeting with Antony, when she rejects his invitation to supper and substitutes her own, Shakespeare’s Cleopatra exercises a command over his will that proves virtually irresistible.
Thus, while registering its similarities with Marxism, Walter Cohen also stresses, as a fundamental difference, that ‘new historicism describes historical difference, but it does not explain historical AFTER THE NEW HISTORICISM 25 change’ (1987:33). The focus upon historical difference is not a superficial trait, although it is reflected in new historicism’s characteristic penchant for the unusual, uncanny and even bizarre historical detail–sometimes narrated as a paradoxically illustrative anecdote, oftentimes subjected to full analysis as part of a broader cultural pattern or logic.
Thus Greenblatt speaks of literary works as ‘fields of force, places of dissension and shifting interests’ rather than ‘as a fixed set of texts that are set apart from all other forms of expression…or as a stable set of reflections of historical facts that lie beyond them’. Such an approach ‘challenges the assumptions that guarantee a secure distinction between…artistic production and other kinds of social production’ and shifts analysis from the literary in itself to the role that literary production plays in the larger social formation: These collective social constructions on the one hand define the range of aesthetic possibilities within a given representational mode and, on the other, link that mode to the complex network of institutions, practices, and beliefs that constitute the culture as a whole.
Alternative Shakespeares, Volume 2