SHAKESPEARE QUARTERLY最新文献

{"title":"Shakespeare and Queer Representation by Stephen Guy-Bray (review)","authors":"Christopher Yates","doi":"10.1093/sq/quac018","DOIUrl":"https://doi.org/10.1093/sq/quac018","url":null,"abstract":"","PeriodicalId":39634,"journal":{"name":"SHAKESPEARE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-08-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44945000","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":"Prop Culture: The Shakespearean Clown and His Marotte","authors":"Nicole Sheriko","doi":"10.1093/sq/quac015","DOIUrl":"https://doi.org/10.1093/sq/quac015","url":null,"abstract":"THE EARLY MODERN CLOWN IS ALWAYS ALREADY MULTIPLE, carrying into performance his own puppet double: the fool’s bauble. This short staff topped with a carved likeness of its carrier is a kind of rod puppet—a marotte—who mirrors, extends, and constructs the clown as such. A portrait of the Stuart/ Caroline court fools Tom Derry and Muckle John makes this multiplicity especially clear (see figure 1). The painting’s title, Wee Three Loggerheads, and its grotesque imagery (note the fools’ facial expressions and the extra finger on Derry’s hand) place it firmly in the broader cultural tradition of depicting Folly. Images in this “we three” genre generally feature one fewer fool (here “loggerhead”) than the number in the label, implying that the viewer is the final fool. Here, Muckle John’s marotte might also be seen as the third fool (especially with its log head). We can read the marotte as a character in the picture, and therefore one of the “three” fools, or we can read it as merely an object held by one of the characters that identifies him as a fool. The marotte oscillates between character and object, and in so doing figures the viewer alternately as an external observer and an integral part of the folly being depicted. As a prop, the marotte is a practical performance tool, and Wee Three Loggerheads offers a portrait of performers as much as an allegorical representation of Folly in the world. Scholars of early modern performance have long neglected","PeriodicalId":39634,"journal":{"name":"SHAKESPEARE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48272869","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":"\"This bastard graff shall never come to growth\": Conception and Consent in Shakespeare's Lucrece","authors":"Sarah S Keleher","doi":"10.1093/sq/quac014","DOIUrl":"https://doi.org/10.1093/sq/quac014","url":null,"abstract":"T ARQUIN WRONGED ME,” Lucrece states, “I Collatine” (819). 1 The first half of the statement comes as no surprise, but the second half is puzzling. In what way has Lucrece wronged Collatine by being raped? She has had extramarital sex, to be sure, but what blame can attach to her, given the constraints on her consent? It is the uncertain issue—in both senses of the word—of Lucrece’s consent that doubles the nature of the sexual offense, twinning it into two clauses: rape (“Tarquin wronged me”) and adultery (“I Collatine”). That doubling is not reducible to the internalized guilt of a rape victim. In early modern humanism, Lucretia was a defendant against charges of adultery in a perpetual rhetorical trial. She was a standard topic of humanist pro and contra debates that interpreted her motives for suicide through disputation of her chastity: “Shall we say she was an adulteresse, or was shee chast?” If we approach Shakespeare’s Lucrece with a certainty that the sexual offense at its heart is rape, we approach the poem anachronistically. The rape in Lucrece was always already a disputed","PeriodicalId":39634,"journal":{"name":"SHAKESPEARE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-07-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48509190","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":"\"A Strange, Hollow, and Confused Noise\": Prospero's \"Start\" and Early Modern Magical Practices","authors":"E. Tribble","doi":"10.1093/sq/quac016","DOIUrl":"https://doi.org/10.1093/sq/quac016","url":null,"abstract":"This essay has benefited from careful and patient feedback both from individual readers and from audiences who have heard earlier verisons. Debapriya Sarkar and Roslyn Knutson helped me to refine my arguments, and I am grateful to the anonymous peer reviewers at Shakespeare Quarterly for their helpful suggestions. Audiences at the seminar series of the English Department at the University of Connecticut, the Massachusetts Center for Renaissance Studies, and the Columbia Shakespeare Seminar provided incisive commentary that greatly improved the essay. Thanks also to the staff at the Folger Shakespeare Library for introducing me to the wonders of The Book of Magic. 1 The Tempest, 4.1.137, 138. Unless otherwise noted, all quotations from the play come from The Tempest, ed. Virginia Mason Vaughan and Alden T. Vaughan (London: Bloomsbury, 2011). 2 The Norton Facsimile of the First Folio of Shakespeare, prep. Charlton Hinman, rev. ed. (New York: W. W. Norton, 1996), TLN 1805–8.","PeriodicalId":39634,"journal":{"name":"SHAKESPEARE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-07-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45498325","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":"All the Sonnets of Shakespeare. Edited by Paul Edmondson and Stanley Wells","authors":"John S. Garrison","doi":"10.1093/sq/quac017","DOIUrl":"https://doi.org/10.1093/sq/quac017","url":null,"abstract":"","PeriodicalId":39634,"journal":{"name":"SHAKESPEARE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49611595","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":"Dreams, Sleep, and Shakespeare's Genres by Claude Fretz (review)","authors":"Darren Freebury-Jones","doi":"10.1093/sq/quac022","DOIUrl":"https://doi.org/10.1093/sq/quac022","url":null,"abstract":"audience influences the self by either accepting, rejecting, or offering alternative identities. When unable to control others’ perception—when threatened with an image of oneself that is not sovereign or divinity, but vanquished enemy or prize—Antony and Cleopatra respond with anger, threats (in their reactions to messengers), and ultimately suicide. Cleopatra’s behavior thus demonstrates the hypocrisy and hysteria of Roman Stoicism, the impossibility and selfdestructiveness of the Stoic retreat from social relations. Gray’s study is dense with theoretical references to classical, modern, and postmodern authors, as one might expect from a book in the series “Critical Studies in Shakespeare and Philosophy.” Gray demonstrates that Shakespeare adopted the ideas presented in Magna moralia (once attributed to Aristotle), which he argues is the anachronistic text Ulysses reads in Troilus and Cressida. In doing so, Shakespeare predicts many modern philosophers’ concepts of relational self-determination, including those of Hegel, Sartre, Ricoeur, Bubar, Bakhtin, Arendt, Mattha Nussbaum, Charles Taylor, and Shadi Bartsch. However, Gray argues, Shakespeare saw God as the final audience or “privileged observer” for all individuals, and the numerous biblical references throughout Antony and Cleopatra, as well as the comedic similarities of Julius Caesar’s titular character to representations in medieval mystery plays, renders all of the classical heroes aligned with the Antichrist or supreme antagonist (259). Shakespeare and the Fall of the Roman Republic thus reads Shakespeare as deeply embedded in a Christian culture that evaluates classical figures and sources through this lens. Gray thinks that Shakespeare offers a provocative and accurate compromise between modern and postmodern ideas of the self, which makes this text useful for those who explore the intersections of literature and history with theory and theology, both ancient and contemporary. He also points out that the Romans’ participation in an all-or-nothing dynamic, the belief that power is a zero-sum game, could elucidate many twenty-first century political divisions, although he leaves the enlargement of this argument to subsequent projects.","PeriodicalId":39634,"journal":{"name":"SHAKESPEARE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43592751","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":"OUP accepted manuscript","authors":"","doi":"10.1093/sq/quac009","DOIUrl":"https://doi.org/10.1093/sq/quac009","url":null,"abstract":"","PeriodicalId":39634,"journal":{"name":"SHAKESPEARE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"61567676","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":"OUP accepted manuscript","authors":"","doi":"10.1093/sq/quac005","DOIUrl":"https://doi.org/10.1093/sq/quac005","url":null,"abstract":"","PeriodicalId":39634,"journal":{"name":"SHAKESPEARE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"61567885","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":"OUP accepted manuscript","authors":"","doi":"10.1093/sq/quac007","DOIUrl":"https://doi.org/10.1093/sq/quac007","url":null,"abstract":"","PeriodicalId":39634,"journal":{"name":"SHAKESPEARE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"61568133","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":"OUP accepted manuscript","authors":"","doi":"10.1093/sq/quac002","DOIUrl":"https://doi.org/10.1093/sq/quac002","url":null,"abstract":"","PeriodicalId":39634,"journal":{"name":"SHAKESPEARE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"61567338","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}