{"title":"<i>Shakespeare’s Mad Men: A Crisis of Authority</i>. By <scp>Richard van Oort</scp>","authors":"Amir Khan","doi":"10.1093/sq/quad015","DOIUrl":"https://doi.org/10.1093/sq/quad015","url":null,"abstract":"Journal Article Shakespeare’s Mad Men: A Crisis of Authority. By Richard van Oort Get access Shakespeare’s Mad Men: A Crisis of Authority. By Richard van OortStanford: Stanford University Press, 2022. Pp. xii + 288. Amir Khan Amir Khan Email: amirazizkhan@hunnu.edu.cn https://orcid.org/0000-0003-2439-7113 Search for other works by this author on: Oxford Academic Google Scholar Shakespeare Quarterly, Volume 74, Issue 2, Summer 2023, Pages 161–163, https://doi.org/10.1093/sq/quad015 Published: 31 May 2023","PeriodicalId":39634,"journal":{"name":"SHAKESPEARE QUARTERLY","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135348150","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Shakespeare, Steevens, and the Fleeting Moon: Glossing and Reading in Antony and Cleopatra","authors":"A. Mattison","doi":"10.1093/sq/quad010","DOIUrl":"https://doi.org/10.1093/sq/quad010","url":null,"abstract":"THE FINAL SPEECH OF ANTONY AND CLEOPATRA, in which Octavian Caesar notes the “pity” and “glory” (5.2.360) of the titular characters’ “story” (l. 359), is an acknowledgment of the play’s literary bent, its interest in the matter and means of narrative. That interest is not the full extent of the play’s literary self-consciousness: it is concerned throughout with reading, particularly if the term is defined to include not only the literal reception or recitation of texts but also the interpretation of personalities, events, and the arc of history. Reading’s importance and figurative potential are established early in the first act through the Soothsayer’s introduction to his craft: “In nature’s infinite book of secrecy / A little I can read” (1.2.10–11). Of course, what the Soothsayer is reading in nature’s book—the remaining lives of the play’s central characters—is also the plot of the play. There is thus an inevitable parallel between the Soothsayer’s reading of auguries and two other kinds of reading: Shakespeare’s, necessarily on display in a play about well-documented historical figures, and that of his audience. The latter occurs in many forms: literal reading is never entirely absent even in the theater (the promptbook is always there), playgoers may have read about the characters or the play itself previously, and the play acknowledges, particularly through the panoply of commentary on the meaning of Antony’s life and character, that the audience will be interpreting what they are seeing. In a printed edition of the play, particularly one with a scholarly function, all of these elements of reading, past and future, come together. This essay examines the interactions between various conceptions of reading in Antony and Cleopatra and some of the kinds of reading that emerge in the","PeriodicalId":39634,"journal":{"name":"SHAKESPEARE QUARTERLY","volume":"74 1","pages":"113 - 90"},"PeriodicalIF":0.3,"publicationDate":"2023-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45187730","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Zuan Bianco and Othello: The Afro-European Military Commander in Life and Art","authors":"Paul H. D. Kaplan","doi":"10.1093/sq/quad011","DOIUrl":"https://doi.org/10.1093/sq/quad011","url":null,"abstract":"B URIED IN A FOOTNOTE IN THE 1869 SECOND EDITION of Jacob Burckhardt’s Civilization of the Renaissance in Italy lies one of most intriguing facets of the history of Black Africans in early modern Europe. A compulsive reader of (and compiler of notes from) Renaissance texts, Burckhardt had observed that a highranking Venetian military officer of Black African ancestry was briefly cited in one of the most important accounts of the battle between Charles VIII of France and his Italian enemies at Fornovo di Taro in July of 1495. What immediately jumped to Burckhardt’s mind, as it does to that of a modern reader, was a possible connection to Shakespeare’s Othello (1604). After the citation of his source, the only comment Burckhardt made was this: “ein Neger (Aethiops) als höherer venezianischer Offizier, wonach auch Othello als Neger gefasst werrden kann” (“a Negro [‘Ethiopian’] as a high Venetian officer, according to which Othello can be understood as a Negro”). This essay will outline what is known (and not known) of this commander, provide some context for understanding his appearance in the historical record, and evaluate whether his career might have played an indirect role in generating the Black African protagonist of Shakespeare’s tragedy. Burckhardt’s footnote has largely been left undisturbed by scholars since its publication, except (in another learned footnote) by the art historian Elfriede Knauer (1926–2010), who cited it in a 2003 essay in Apollo, which is how it came to my attention. Knauer referenced Burckhardt in conjunction with her discussion of the two Black African oarsmen in Vittore Carpaccio’s Hunting on the Lagoon (circa 1492–1494; figure 1), but did not offer any discussion of either Burckhardt’s brief speculation about Othello or the Renaissance source that had","PeriodicalId":39634,"journal":{"name":"SHAKESPEARE QUARTERLY","volume":"74 1","pages":"69 - 89"},"PeriodicalIF":0.3,"publicationDate":"2023-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48217727","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Diva’s Gift to the Shakespearean Stage: Agency, Theatricality, and the Innamorata. By Pamela Allen Brown \u0000 Boy Actors in Early Modern England: Skill and Stagecraft in the Theatre. By Harry R. Mc\u0000 Carthy","authors":"Scott A. Trudell","doi":"10.1093/sq/quad020","DOIUrl":"https://doi.org/10.1093/sq/quad020","url":null,"abstract":"","PeriodicalId":39634,"journal":{"name":"SHAKESPEARE QUARTERLY","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-05-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47086861","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}