Introduces students to the study of Shakespeare and grounds their understandings of his work in theoretical discourses. By addressing what is primarily at stake in the major theoretical approaches to Shakespeare's works, the book breaks down both fears and preconceptions to offer students a map of the current critical practices of others. -- .
Introduces students to the study of Shakespeare and grounds their understandings of his work in theoretical discourses. By addressing what is primarily at stake in the major theoretical approaches to Shakespeare's works, the book breaks down both fears and preconceptions to offer students a map of the current critical practices of others. -- .
Lisa Hopkins is an award-winning communicator and ICF Certified Professional Life Coach, CORE Performance Dynamics Specialist, and Energy Leadership Master Practitioner at Wide Open Stages. A "Creative Energy Optimizer," Lisa specializes in working with creative professionals in the entertainment industry. She is an expert at shifting mindset & energy and using her intuition to tap into her clients' highest potential and uncover what is holding them back from leading their created life. A passionate artistic professional herself, Lisa has over 30 years of experience working in the performing arts industry in NYC as a director, choreographer, producer, writer, and dance educator. She is the Communicator Award-winning host of the popular podcast STOPTIME: Live in the Moment, which is ranked in the top 5% of podcasts worldwide. Lisa is a dual citizen of the US & Canada and splits her time between NYC, Burlington VT, and the Eastern Townships of Quebec, Canada.
Inhaltsangabe
Acknowledgements Introduction 1. Critical Histories I. 1598-1741: A bumpy ride ii. 1741-1904: Enter Shakespear iii. Enshrinement iv. A.C.Bradley and character study v. The Thirties: images and patterns vi. Tillyard and the 'Elizabethan world picture' vii. Jan Kott: Shakespeare our contemporary 2. Psychoanalysis I. Freud and his early followers ii. C.G. Jung and the theory of 'types and archetypes' iii. Jacques Lacan and the theory of the subject iv. Post-Lacanian psychoanalytical approaches 3. New Historicism I. Stephen Greenblatt: 'invisible bullets' ii. Louis Montrose: New Historicism meets psychoanalysis iii. Leonard Tennenhouse and the interests of power iv. Later developments: New Historicism meets gender 4. Cultural Materialism I. Political Shakespeare: a landmark text ii. Dollimore and Sinfield: literature and power iii. Terence Hawkes and the politics of meaning 5. New factualisms I. The 'new biography' ii. Attribution studies iii. Editing 6. Gender studies and queer theory I. Boy actors ii. Political feminisms iii. Queer theory 7. Postcolonial criticism I. 'The Tempest' ii. Postcolonial 'Tempests' iii. 'Othello' 8. Shakespeare in performance I. 'Henry V' in performance ii. The Olivier version iii. Stratford-upon-Avon iv. Political performance criticism?
Acknowledgements Introduction 1. Critical Histories I. 1598-1741: A bumpy ride ii. 1741-1904: Enter Shakespear iii. Enshrinement iv. A.C.Bradley and character study v. The Thirties: images and patterns vi. Tillyard and the 'Elizabethan world picture' vii. Jan Kott: Shakespeare our contemporary 2. Psychoanalysis I. Freud and his early followers ii. C.G. Jung and the theory of 'types and archetypes' iii. Jacques Lacan and the theory of the subject iv. Post-Lacanian psychoanalytical approaches 3. New Historicism I. Stephen Greenblatt: 'invisible bullets' ii. Louis Montrose: New Historicism meets psychoanalysis iii. Leonard Tennenhouse and the interests of power iv. Later developments: New Historicism meets gender 4. Cultural Materialism I. Political Shakespeare: a landmark text ii. Dollimore and Sinfield: literature and power iii. Terence Hawkes and the politics of meaning 5. New factualisms I. The 'new biography' ii. Attribution studies iii. Editing 6. Gender studies and queer theory I. Boy actors ii. Political feminisms iii. Queer theory 7. Postcolonial criticism I. 'The Tempest' ii. Postcolonial 'Tempests' iii. 'Othello' 8. Shakespeare in performance I. 'Henry V' in performance ii. The Olivier version iii. Stratford-upon-Avon iv. Political performance criticism?
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