Shakespeare Survey 72最新文献

Scholarly Method, Truth and Evidence in Shakespearian Textual Studies 莎士比亚文本研究中的学术方法、真理和证据

Shakespeare Survey 72 Pub Date : 2019-12-01 DOI: 10.1017/9781108588072.012

G. Egan

引用次数: 3

Beautiful Polecats: The Living and the Dead in Julius Caesar 《美丽的猪鼬:尤利乌斯·凯撒》中的生者与死者

Shakespeare Survey 72 Pub Date : 2019-09-12 DOI: 10.1017/9781108588072.013

L. Hopkins

引用次数: 0

Antic Dispositions: Shakespeare, War and Cabaret 滑稽的性格:莎士比亚，战争和歌舞表演

Shakespeare Survey 72 Pub Date : 2019-09-12 DOI: 10.1017/9781108588072.007

Irena R. Makaryk

引用次数: 0

Shakespeare and Religious War: New Developments on the Italian Sources of Twelfth Night 莎士比亚与宗教战争:《第十二夜》意大利来源的新发展

Shakespeare Survey 72 Pub Date : 2019-09-12 DOI: 10.1017/9781108588072.003

E. Tarantino

引用次数: 0

The Lion and the Lamb: Hamlet in London during World War II 《狮子与羔羊:第二次世界大战期间哈姆雷特在伦敦》

Shakespeare Survey 72 Pub Date : 2019-09-12 DOI: 10.1017/9781108588072.009

Zoltán Márkus

引用次数: 0

Tautological Character:Troilus and Cressidaand the Problems of Personation 同义角色:特洛伊罗斯和克雷斯达以及拟人化问题

Shakespeare Survey 72 Pub Date : 2019-09-12 DOI: 10.1017/9781108588072.017

Samuel Fallon

引用次数: 0

Professional Shakespeare Productions in the British Isles, January–December 2017 专业莎士比亚作品在不列颠群岛，2017年1月至12月

Shakespeare Survey 72 Pub Date : 2019-09-12 DOI: 10.1017/9781108588072.023

James E. Shaw

引用次数: 0

Economies of Gunpowder and Ecologies of Peace: Accounting for Sustainability 火药经济与和平生态:可持续性核算

Shakespeare Survey 72 Pub Date : 2019-09-12 DOI: 10.1017/9781108588072.002

Randall Martin

引用次数: 0

Tippett’sTempest: Shakespeare inThe Knot Garden 蒂皮特的诗:莎士比亚在结园

Shakespeare Survey 72 Pub Date : 2019-09-12 DOI: 10.1017/9781108588072.016

Michael Graham

引用次数: 0

Content but Also Unwell: Distributed Character and Language in The Merchant of Venice 内容与不适:《威尼斯商人》中分散的人物与语言

Shakespeare Survey 72 Pub Date : 2019-09-12 DOI: 10.1017/9781108588072.019

Elena Pellone, D. Schalkwyk

{"title":"Content but Also Unwell: Distributed Character and Language in The Merchant of Venice","authors":"Elena Pellone, D. Schalkwyk","doi":"10.1017/9781108588072.019","DOIUrl":"https://doi.org/10.1017/9781108588072.019","url":null,"abstract":"Character, so central to eighteenthand nineteenthcentury appreciation of Shakespeare, fell out of favour in the mid twentieth century. This first occurred at the hands of the ‘New Criticism’. L. C. Knights, in ‘How many children had Lady Macbeth?’, was instrumental in the classic shift of critical focus from the life and humanity of the fictional people in Shakespeare’s plays (exemplified by A. C. Bradley) to a view of the texts as elaborate poetic forms, to be read for their network of figurative structures and connections rather than for the psychology of their characters. The rise of structuralist, poststructuralist, new historicist and materialist theory and criticism in the 1980s took theNewCritical aversion to character still further: the New Criticism, and its British counterparts in figures such as F. R. Leavis, Cleanth Brooks, L. C. Knights, Wilson Knight and Derek Traversi, were considered too entrapped by a belief in a commonhumanity, even if these critics eschewed Bradley’s insistence that Shakespeare’s characters were somehow real people, amenable to the same moral and psychological judgement. The problem with character criticism for the new theory and politics was that it was both anachronistic and politically regressive. Historicist critics maintained (wrongly) that the idea of a subjective interiority did not exist before Shakespeare, and Marxists and poststructuralists held (also wrongly) that an interest in Shakespeare’s characters necessitated a lack of attention to the broader ideological, social and political aspects of the plays. Recently, character is receiving renewed attention as a means to restore an ethical dimension to our interest in literature, and even a more nuanced concern with politics. Cognitive psychology has offered compelling reasons to revisit the question of a certain kind of constancy among all human beings, traditionally collected under the rubric of ‘human nature’, and disturbing political developments in the twenty-first century that seek to fracture any sense of human solidarity lead us to ask whether the idea of a common humanity might not be quite as regressive as critics and theorists have thought. A recent anthology offers essays in what it terms ‘the new character criticism’, and its editors, Paul Yachnin and Jessica Slights, observe that ‘Shakespeare’s characters have continued to have a lively existence for theater practitioners, playgoers, students, and general readers.’ Indeed, they make the more forceful claim that ‘character is the organizing principle of Shakespeare’s plays – it organizes both the formal and ideological dimensions of the drama and is not organized by them – . . . character is the principal bridge over which the emotional, cognitive, and political transactions of theater and literature pass between actors and playgoers or between written texts and readers’.","PeriodicalId":165239,"journal":{"name":"Shakespeare Survey 72","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121309146","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1