This dictionary explores the language of domestic life found in Shakespeare's work and seeks to demonstrate the meanings he attaches to it through his uses of it in particular contexts. "Domestic life" covers a range of topics: the language of the household, clothing, food, family relationships and duties; household practices, the architecture of the home, and all that conditions and governs the life of the home. The dictionary draws on recent cultural materialist research to provide in-depth definitions of the domestic language and life in Shakespeare's works, creating a richly rewarding and informative reference tool for upper level students and scholars.
Contemporary adaptations of Shakespeare's plays have brought into sharp focus the legacies of slavery, racism and colonial dispossession that still haunt the global South. Looking sideways across the Atlantic and Indian Oceans to nontraditional centres of Shakespeare practice, Shakespeare in the Global South explores the solidarities generated by contemporary adaptations and their stories of displacement and survival. The book takes its lead from innovative theatre practice in Mauritius, North India, Brazil, post-apartheid South Africa and the diasporic urban spaces of the global North, to assess the lessons for cultural theory emerging from the new works. Using the 'global South' as a critical frame, Sandra Young reflects on the vocabulary scholars have found productive in grappling with the impact of the new iterations of Shakespeare's work, through terms such as 'creolization', 'indigenization', 'localization', 'Africanization' and 'diaspora'. Shakespeare's presence in the global South invites us to go beyond familiar orthodoxies and to recognize the surprising affinities felt across oceans of difference in time and space that allow Shakespeare's inventiveness to be a part of the enchanting subversions at play in contemporary theatre's global currents.
This book examines Shakespeare’s depiction of foreign queens as he uses them to reveal and embody tensions within early modern English politics. Linking early modern and contemporary political theory and concerns through the concepts of fragmented identity, hospitality, citizenship, and banishment, Sandra Logan takes up a set of questions not widely addressed by scholars of early modern queenship. How does Shakespeare’s representation of these queens challenge the opposition between friend and enemy that ostensibly defines the context of the political? And how do these queens expose the abusive potential of the sovereign? Focusing on Katherine of Aragon in Henry VIII, Hermione in The Winter’s Tale, Tamora in Titus Andronicus, and Margaret in the first history tetralogy, Logan considers them as means for exploring conditions of vulnerability, alienation, and exclusion common to subjects of every social position, exposing the sovereign himself as the true enemy of the state.
This book examines Shakespeare’s depiction of foreign queens as he uses them to reveal and embody tensions within early modern English politics. Linking early modern and contemporary political theory and concerns through the concepts of fragmented identity, hospitality, citizenship, and banishment, Sandra Logan takes up a set of questions not widely addressed by scholars of early modern queenship. How does Shakespeare’s representation of these queens challenge the opposition between friend and enemy that ostensibly defines the context of the political? And how do these queens expose the abusive potential of the sovereign? Focusing on Katherine of Aragon in Henry VIII, Hermione in The Winter’s Tale, Tamora in Titus Andronicus, and Margaret in the first history tetralogy, Logan considers them as means for exploring conditions of vulnerability, alienation, and exclusion common to subjects of every social position, exposing the sovereign himself as the true enemy of the state.
Contemporary adaptations of Shakespeare's plays have brought into sharp focus the legacies of slavery, racism and colonial dispossession that still haunt the global South. Looking sideways across the Atlantic and Indian Oceans to nontraditional centres of Shakespeare practice, Shakespeare in the Global South explores the solidarities generated by contemporary adaptations and their stories of displacement and survival. The book takes its lead from innovative theatre practice in Mauritius, North India, Brazil, post-apartheid South Africa and the diasporic urban spaces of the global North, to assess the lessons for cultural theory emerging from the new works. Using the 'global South' as a critical frame, Sandra Young reflects on the vocabulary scholars have found productive in grappling with the impact of the new iterations of Shakespeare's work, through terms such as 'creolization', 'indigenization', 'localization', 'Africanization' and 'diaspora'. Shakespeare's presence in the global South invites us to go beyond familiar orthodoxies and to recognize the surprising affinities felt across oceans of difference in time and space that allow Shakespeare's inventiveness to be a part of the enchanting subversions at play in contemporary theatre's global currents.
Seminar paper from the year 2004 in the subject English Language and Literature Studies - Literature, grade: 1,5, University of Tubingen (Englisches Seminar), course: Proseminar II Literatur: The World and Shakespeare, 11 entries in the bibliography, language: English, abstract: "A salvage and deformed slave." With these words William Shakespeare describes the figure of Caliban in the dramatis person of his play The Tempest. For almost four centuries, literary critics have dealt with trying to answer the question how Shakespeare's character has to be regarded. Is Caliban to be considered as a monster representing humanity's bestial side including all its vices, and thereby arousing the audience's disgust? Or has he rather to be looked at the victim of an imperia l tyrant - personified in Prospero - who arouses the spectator's pity? In which way Shakespeare really intended Caliban to be was, is and will ever be a secret he took to his grave. However, the reception history of the play has proven that Shakespeare's presentation of the characters - especially Caliban - opened up a large scope for various, often contradicting interpretations of the "slave." Thus, the following paper analyses the play with regard to the basic question whether or not Caliban is a monster. It is divided into two parts. The first one concentrates only on how Shakespeare's drama The Tempest in general and the character of Caliban in particular have been staged and interpreted throughout the last barely four centuries of reception. For this purpose, a small selection of representations of the play on stage and in editions are introduced and discussed, which show the major strands and general tendencies of Caliban's changing interpretations in the course of time. One of the main changes in Caliban's interpretation is the difference of reading the character in colonial and in post-colonial eras. After the end of the Second World War and after most of the world's colonies had been released and g
Seminar paper from the year 2004 in the subject English Language and Literature Studies - Literature, grade: 1,5, University of Tubingen (Englisches Seminar), course: Proseminar II Literatur: The World and Shakespeare, 11 entries in the bibliography, language: English, abstract: "A salvage and deformed slave." With these words William Shakespeare describes the figure of Caliban in the dramatis person of his play The Tempest. For almost four centuries, literary critics have dealt with trying to answer the question how Shakespeare's character has to be regarded. Is Caliban to be considered as a monster representing humanity's bestial side including all its vices, and thereby arousing the audience's disgust? Or has he rather to be looked at the victim of an imperia l tyrant - personified in Prospero - who arouses the spectator's pity? In which way Shakespeare really intended Caliban to be was, is and will ever be a secret he took to his grave. However, the reception history of the play has proven that Shakespeare's presentation of the characters - especially Caliban - opened up a large scope for various, often contradicting interpretations of the "slave." Thus, the following paper analyses the play with regard to the basic question whether or not Caliban is a monster. It is divided into two parts. The first one concentrates only on how Shakespeare's drama The Tempest in general and the character of Caliban in particular have been staged and interpreted throughout the last barely four centuries of reception. For this purpose, a small selection of representations of the play on stage and in editions are introduced and discussed, which show the major strands and general tendencies of Caliban's changing interpretations in the course of time. One of the main changes in Caliban's interpretation is the difference of reading the character in colonial and in post-colonial eras. After the end of the Second World War and after most of the world's colonies had been released and g
Shakespearean Educations examines how and why Shakespeare’s works shaped the development of American education from the colonial period through the 1934 Chicago World’s Fair, taking the reader up to the years before the Servicemen’s Readjustment Act of 1944 (popularly known as the GI Bill), coeducation, and a nascent civil rights movement would alter the educational landscape yet again. The essays in this collection query the nature of education, the nature of citizenship in a democracy, and the roles of literature, elocution, theater, and performance in both. Expanding the notion of “education” beyond the classroom to literary clubs, private salons, public lectures, libraries, primers, and theatrical performance, this collection challenges scholars to consider how different groups in our society have adopted Shakespeare as part of a specifically “American” education. Shakespearean Educations maps the ways in which former slaves, Puritan ministers, university leaders, and working class theatergoers used Shakespeare not only to educate themselves about literature and culture, but also to educate others about their own experience. Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
This dictionary explores the language of domestic life found in Shakespeare's work and seeks to demonstrate the meanings he attaches to it through his uses of it in particular contexts. "Domestic life" covers a range of topics: the language of the household, clothing, food, family relationships and duties; household practices, the architecture of the home, and all that conditions and governs the life of the home. The dictionary draws on recent cultural materialist research to provide in-depth definitions of the domestic language and life in Shakespeare's works, creating a richly rewarding and informative reference tool for upper level students and scholars.
Renaissance Drama provides a comprehensive and engaging new account of one of the richest periods of theatre history: the drama of early modern England produced for the professional theatre. It brings new insights to bear by exploring the plays in their relation to the culture and society of the period. Sandra Clark takes the reader through a compelling examination of how plays participate in and respond to changing anxieties, for instance about English nationhood, the monarchy, or the role of the family, sometimes raising difficult questions or offering challenges to accepted views. Unlike many books on Elizabethan drama, the book is organized so as to cover a wide range of plays, some familiar, many less so, by many playwrights, from Lyly in the 1580s to Shirley in the 1640s. Shakespeare is not foregrounded, but neither is he excluded; a chapter considers his dialogue with contemporaries and also the ways in which later playwrights wrote back to his work. Renaissance Drama will become standard reading for all students and scholars of English literature or the early modern period.
This is an analysis of sexual themes in the plays of Beaumont and Fletcher, both in the context of the Jacobean theatre and in the light of modern readings of sexuality and gender during the English Renaissance. Sandra Clark challenges commonly-held perceptions of Beaumont and Fletcher's work. The book is intended for undergraduate and graduate courses on Renaissance literature, Elizabethan and Jacobean drama, tragicomedy, gender and genre in the Renaissance.
Queen Victoria Ruled England. The story begins in the 1880s, Harry loses his parents and sister Ena, to consumption. He walks miles daily working on a stud farm, whilst looking after his ailing younger brother. Mary is the daughter of the owner of the Stud Farm, where Harry works. The death of Harrys brother throws them together. On her 18th birthday she proclaims her love for Harry. Marys father disowns her and throws her out pregnant, penniless and destitute. Marys Boys, is a story of love, heroism, loyalty and comradeship, during the very difficult years leading up to and including WWI.
Its lines and verses have become part of the western literary canon and his translation of this most famous of poems has been continuously in print in for almost a century and a half. But just who was Edward FitzGerald? Was he the eccentric recluse that most scholars would have us believe? Is there more to the man than just his famous translation? In The Man Behind the Rubaiyat of Omar Khayyam William Martin and Sandra Martin go beyond the standard view. Drawing on their unique analysis of the more than 2,000 surviving letters of FitzGerald, together with evidence from his scrapbooks, commonplace books and materials from his personal library, they reveal a more convivial yet complex personality than we have been led to suppose.
Deliberation, in recent years, has emerged as a form of civic engagement worth reclaiming. In this persuasive book, Sandra M. Gustafson combines historical literary analysis and political theory in order to demonstrate that current democratic practices of deliberation are rooted in the civic rhetoric that flourished in the early American republic. Though the U.S. Constitution made deliberation central to republican self-governance, the ethical emphasis on group deliberation often conflicted with the rhetorical focus on persuasive speech. From Alexis de Tocqueville’s ideas about the deliberative basis of American democracy through the works of Walt Whitman, John Dewey, John F. Kennedy, and Martin Luther King Jr., Gustafson shows how writers and speakers have made the aesthetic and political possibilities of deliberation central to their autobiographies, manifestos, novels, and orations. Examining seven key writers from the early American republic—including James Fenimore Cooper, David Crockett, and Daniel Webster—whose works of deliberative imagination explored the intersections of style and democratic substance, Gustafson offers a mode of historical and textual analysis that displays the wide range of resources imaginative language can contribute to political life.
An account of the English actress's view of her own rise up to social and professional prominence from 1600 to the present. Examining the actress's experience as distinct from the actor's, this book charts her influence on each age's views of women's nature and their role in society.
Who is the Fool and what does he mean to us? Pre-1900 scholars thought him a Renaissance fashion, a continental import of note in the British Isles only between 1486 and the 1630s, per his appearances in Shakespeare's plays. However, as Sandra Billington shows in this pioneering study, the Fool has been with us from medieval times and has worn many guises: village idiot and sophisticated comedian, embodiment of Satan and God's own jester. He has managed, as Billington notes, 'to inspire or infect our thinking for at least eight hundred years'.
2005 GLYPH AWARD WINNER A story so incredible it can only be true. Adventure, deadly passion and intrigue... History's most enduring mystery... A love story that may have inspired a beloved fairy tale and Shakespeare's Romeo and Juliet... Known as Shakespeare's villain, Richard III is also the king who gave mankind "Blind Justice" and the legal concepts that flowered into modern Western democracy. Against the sweep of England's fifteenth century Wars of the Roses, Love & War, the first book in The Rose of York series, recreates Richard's tumultuous early years and his love affair with Anne Neville, the traitor's daughter he made his queen. With a Foreword by Roxane C. Murph, M.A., Former Chairman, Richard III Society, and author of Richard III: The Making of a Legend "A deftly written, reader engaging, thoroughly entertaining and enthusiastically recommended historical novel that documents its author as a gifted literary talent.” —Midwest Book Review "A hugely interesting project." —Dennis Huston, Ph.D.,1989 Carnegie Mellon Professor of the Year "Sandra Worth has crafted a historical fiction novel that is a true 'classic'."—Viviane Crystal, Reviewers International Organization "A beautifully written novel, etched by a masterful storyteller."—Wendy J. Dunn, author of Dear Heart, How Like You This?, Winner of the 2003 Glyph Award for Best Fiction – Adult
What is it about love poetry that we so love? Why is poetry such a popular medium for expressing love? This short book will answer these questions by taking a look at some of the finest poetry in the English language.The complex, concentrated language of a poem has a lot in common with the complexity and intensity of love. But poetry is never only about love. Its meanings reach into other areas of our lives.The popularity of love poetry suggests that readers crave literary encounters with love. We want to have our feelings and experiences reflected back at us in words. Reading poems, we anticipate a glimmer of recognition.This book starts with a look at love poetry's modern historical development. Then we spend time with individual poets, beginning with William Shakespeare in the sixteenth century. Their verse will demonstrate different ways in which poets have written about love.
Have you ever considered how your past experiences have molded you into the person you are today, and the person you will become tomorrow? Understanding who you are makes your road to personal fulfillment easier to navigate.In her first book, "Journal to Fulfillment," Carrie Spagnola shows how keeping a journal has helped her to understand what fulfillment means to her. She uses some of her more powerful journal entries along with her creativity to show the reader ways of discovering what fulfillment means to them.This book is ideal for women who are interested in achieving a greater sense of purpose and passion in life. In "Journal to Fulfillment," Carrie covers some of the most pressing topics for today's woman, including:Learning to love and respect yourself Analyzing the depth of self-perception Identifying healthy relationships vs. toxic relationships Exploring standards of beautyGet ready to take your own personal journey into knowing and loving the truth about who you are.
Executions, murders, suicides, poisonings, shipwrecks, floods, cemetery desecration, airline crashes, fires, pre-historic discoveries - all this and more has occurred in Tasmania's relatively short 210 year history since colonisation... A plethora of true stories about the gruesome, shocking , amazing and amusing events from Tasmania's history..."--Back cover.
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