By Terence Hawkes
Substitute Shakespeares, released in 1985, shook up the area of Shakespearean stories, demythologising Shakespeare and using new theories to the research of his paintings. replacement Shakespeares: quantity 2 investigates Shakespearean feedback over a decade later, introducing new debates and new theorists into the body. either validated students and new names look right here, offering a wide cross-section of latest Shakespearean stories, together with psychoanalysis, sexual and gender politics, race and new historicism. replacement Shakespeares: quantity 2 represents the leading edge of latest Shakespearean experiences. This urgently-needed addition to a vintage paintings of literary feedback is one that lecturers and students will welcome.
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Additional info for Alternative Shakespeares: Volume 2 With an afterword by John Drakakis
It follows that desire is always either homoerotic or heterosexual. 2 Is it conceivable, in other words, that what another culture finds seductive is altogether more diffuse than our quasi-scientific sexual taxonomies allow? II Among fictional figures, Shakespeare’s Cleopatra is surely supremely seductive. Beautiful, ageless, mistress of all the arts of love, mysterious, Eastern, magical, Shakespeare’s Egyptian Queen transmutes Plutarch’s calculating courtesan into myth, becoming in the process the origin of a succession of recreations by George Bernard Shaw and Cecil B.
Ln a quite literal sense,’ as Jean and John Comaroff have wryly observed, ‘hegemony is habit forming’ (Comaroff and Comaroff 1991:23). But while the historical analysis of cultures needs to clarify the processes through which habits, ideas, meanings and subjects are indeed formed to fit the needs of hegemony, such analysis must also recognize that the fit is never certain and must attune itself to the faultlines and contradictions of social 36 ALTERNATIVE SHAKESPEARES 2 determination as well. Even where official manifestations of royal power are concerned, there is ample evidence that what might be called the intended illocutionary force of such power in operation could have an unintended illocutionary effect.
In his study of the politics of literature in Jacobean England, Jonathan Goldberg draws on both Derrida and Foucault to examine the enabling contradictions of rule under James I and the degree to which poets and playwrights appropriated the radically equivocal style of Jaco-bean absolutism to position and sustain themselves both within and outside of the court patronage system (Goldberg 1983). The poetics and politics of Elizabethan rule have been richly and influentially examined by Louis Montrose in a series of essays that in many ways stand as exemplary instances of new historicist methodology and practice.