Shakespeare S Freedom
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|Author||: Stephen Greenblatt|
|Editor||: University of Chicago Press|
With the elegance and verve for which he is well known, Greenblatt, author of the bestselling "Will in the World," shows that Shakespeare was strikingly averse to such absolutes as scripture, monarch, and God, and constantly probed the possibility of freedom from them.
|Author||: Ewan Fernie|
|Editor||: Cambridge University Press|
Shakespeare for Freedom presents a powerful, plausible and political argument for Shakespeare's meaning and value. It ranges across the breadth of the Shakespeare phenomenon, offering a new interpretation not just of the characters and plays but also of the part they have played in theatre, criticism, civic culture and politics. Its story includes a glimpse of 'Freetown' in Romeo and Juliet, which comes to life in the 1769 Stratford Jubilee; the Shakespearean careers of the Leicester Chartist, Cooper, and the Hungarian hero, Kossuth; Hegel's recognition of Shakespearean freedom as the modern breakthrough; its fatal effects in America; the disgust it inspired in Tolstoy; its rehabilitation by Ted Hughes; and its obscure centrality in the 2012 Olympics. Ultimately, it issues a positive Shakespearean prognosis for freedom as a vital (in both senses), unending struggle. Shakespeare for Freedom shows why Shakespeare has mattered for four hundred years, and why he still matters today.
|Author||: Scott Newstok|
|Editor||: Princeton University Press|
"This book offers a short, spirited defense of rhetoric and the liberal arts as catalysts for precision, invention, and empathy in today's world. The author, a professor of Shakespeare studies at a liberal arts college and a parent of school-age children, argues that high-stakes testing and a culture of assessment have altered how and what students are taught, as courses across the arts, humanities, and sciences increasingly are set aside to make room for joyless, mechanical reading and math instruction. Students have been robbed of a complete education, their imaginations stunted by this myopic focus on bare literacy and numeracy. Education is about thinking, Newstok argues, rather than the mastery of a set of rigidly defined skills, and the seemingly rigid pedagogy of the English Renaissance produced some of the most compelling and influential examples of liberated thinking. Each of the fourteen chapters explores an essential element of Shakespeare's world and work, aligns it with the ideas of other thinkers and writers in modern times, and suggests opportunities for further reading. Chapters on craft, technology, attention, freedom, and related topics combine past and present ideas about education to build a case for the value of the past, the pleasure of thinking, and the limitations of modern educational practices and prejudices"--
|Author||: Peter Holbrook|
|Editor||: Bloomsbury Publishing|
This book's underlying claim is that English Renaissance tragedy addresses live issues in the experience of readers and spectators today: it is not a genre to be studied only for aesthetic or “heritage” reasons. The book considers the way in which tragedy in general, and English Renaissance tragedy in particular, addresses ideas of freedom, understood both from an individual and a sociopolitical perspective. Tragedy since the Greeks has addressed the constraints and necessities to which human life is subject (Fate, the gods, chance, the conflict between state and individual) as well as the human desire for autonomy and self-direction. In short, English Renaissance Tragedy: Ideas of Freedom shows how the tragic drama of Shakespeare's age addresses problems of freedom, slavery, and tyranny in ways that speak to us now.
|Author||: Virginia Woolf|
|Editor||: Renard Press Ltd|
In October 1928 Virginia Woolf was asked to deliver speeches at Newnham and Girton Colleges on the subject of ‘Women and Fiction’; she spoke about her conviction that ‘a woman must have money and a room of her own if she is to write fiction’. The following year, the two speeches were published as A Room of One’s Own, and became one of the foremost feminist texts. Knitted into a polished argument are several threads of great importance – women and learning, writing and poverty – which helped to establish much of feminist thought on the importance of education and money for women’s independence. In the same breath, Woolf brushes aside critics and sends out a call for solidarity and independence – a call which sent ripples well into the next century. 'Brilliant interweaving of personal experience, imaginative musing and political clarity' — Kate Mosse, The Guardian 'Probably the most influential piece of non-fictional writing by a woman in this century.' — Hermione Lee, The Financial Times
|Author||: International Shakespeare Association. World Congress|
|Editor||: Associated University Presse|
This collection offers 29 essays by many of the world's major scholars of the extraordinary diversity and richness of Shakespeare studies today. It ranges from examinations of the society Shakespeare himself lived in, to recent films, plays, novels and operatic adaptations in Europe, Africa, Asia, Australia and the Middle East.
|Author||: Enakshi Sengupta,Patrick Blessinger|
|Editor||: Emerald Group Publishing|
Although academic freedom in teaching and learning methods is crucial to a nation’s growth, the concept comes with numerous misnomers and is subjected to much academic debate and doubt. This volume maps out how truth and intellectual integrity remain the fundamental principle on which the foundation of a university should be laid.
|Author||: Harley Granville-Barker|
|Editor||: Atlantic Publishers & Dist|
Harley Granville-Barker S Prefaces To Shakespeare Originally Published In Five Series Between 1927 And 1947 Covering Ten Plays Are Collected In Four Volumes:Volume I (Hamlet), Volume Ii (King Lear, Cymbeline, Julius Caesar), Volume Iii (Antony And Cleopatra, Coriolanus) And Volume Iv (Love S Labour S Lost, Romeo And Juliet, The Merchant Of Venice, Othello).An Actor, Dramatist, Producer And A Profound Shakespearean Scholar, Granville-Barker Brought About A Revolution In His Shakespearean Productions In The First Decade Of The Twentieth Century By Recapturing, With His Experience And Expertise, The Spirit And Vitality Of The Plays As They Were Produced On The Elizabethan Stage. He Saw Shakespeare As A Man Of The Theatre And Gave A Lie To Lamb That The Plays Of Shakespeare Were Less Calculated For Performance On A Stage Than Those Of Any Dramatist Whatsoever. About The Productions G.B. Harrison Remarks That They Were The Most Important Productions For A Hundred Years Not Only Because They Were Beautiful In Themselves, But Because For The First Time Since The Seventeenth Century Shakespeare S Plays Were Played Just As They Were Written, And Not Cut And Rearranged To Suit The Scene-Shifter. The Prefaces Are Elaborate Explications Of What Shape The Productions, And How And Why Granville-Barker S Alert Attention To The Minutiae Of A Text And Threadbare Discussions Of Various Aspects Of The Plays Reveal The Dramatic Wealth Of A Shakespearean Play. The Prefaces With Their Focus On The Integrity And Vitality Of A Play Have Become A Landmark In Shakespearean Criticism. T.S. Eliot Has Rightly Remarked: Perhaps More Than Any Other Single Writer, H. Granville-Barker By His Prefaces, Illuminating The Plays With The Understanding Of The Producer, Has Suggested The Need For A Synthesis Of The Several Points Of View From Which Shakespeare Can Be Studied. Any Teacher And Student Of Shakespeare Will Find These Books Immensely Valuable.
|Author||: Stephen Greenblatt|
|Editor||: University of Chicago Press|
Shakespeare lived in a world of absolutes—of claims for the absolute authority of scripture, monarch, and God, and the authority of fathers over wives and children, the old over the young, and the gentle over the baseborn. With the elegance and verve for which he is well known, Stephen Greenblatt, author of the best-selling Will in the World, shows that Shakespeare was strikingly averse to such absolutes and constantly probed the possibility of freedom from them. Again and again, Shakespeare confounds the designs and pretensions of kings, generals, and churchmen. His aversion to absolutes even leads him to probe the exalted and seemingly limitless passions of his lovers. Greenblatt explores this rich theme by addressing four of Shakespeare’s preoccupations across all the genres in which he worked. He first considers the idea of beauty in Shakespeare’s works, specifically his challenge to the cult of featureless perfection and his interest in distinguishing marks. He then turns to Shakespeare’s interest in murderous hatred, most famously embodied in Shylock but seen also in the character Bernardine in Measure for Measure. Next Greenblatt considers the idea of Shakespearean authority—that is, Shakespeare’s deep sense of the ethical ambiguity of power, including his own. Ultimately, Greenblatt takes up Shakespearean autonomy, in particular the freedom of artists, guided by distinctive forms of perception, to live by their own laws and to claim that their creations are singularly unconstrained. A book that could only have been written by Stephen Greenblatt, Shakespeare’s Freedom is a wholly original and eloquent meditation by the most acclaimed and influential Shakespearean of our time.
|Author||: Aldous Huxley|
|Editor||: Wildside Press LLC|
Brave New World is a dystopian social science fiction novel by English author Aldous Huxley, written in 1931 and published in 1932. Largely set in a futuristic World State, whose citizens are environmentally engineered into an intelligence-based social hierarchy, the novel anticipates huge scientific advancements in reproductive technology, sleep-learning, psychological manipulation and classical conditioning that are combined to make a dystopian society which is challenged by only a single individual: the story's protagonist. Huxley followed this book with a reassessment in essay form, Brave New World Revisited (1958), and with his final novel, Island (1962), the utopian counterpart. The novel is often compared to George Orwell's Nineteen Eighty-Four (published 1949). In 1999, the Modern Library ranked Brave New World at number 5 on its list of the 100 best English-language novels of the 20th century. In 2003, Robert McCrum, writing for The Observer, included Brave New World chronologically at number 53 in "the top 100 greatest novels of all time", and the novel was listed at number 87 on The Big Read survey by the BBC. This edition pairs Brave New World with Brave New World Revisited, Huxley's book about the original novel.
|Author||: Richard Allen Shoaf|
|Editor||: New Academia Pub Llc|
Shoaf shows that Shakespeare's theater is also Shakespeare's theory of the psychology of likeness and unlikeness in the human striving for the most elusive and allusive of all attainments--an individual identity.
|Author||: Richard Burt|
Shakespeare representations in cartoons and comic books; film adaptations; pop music; literature and genre fiction; radio; US and UK television.
|Author||: William Shakespeare|
The Tempest is a play by William Shakespeare, probably written in 1610-1611, and thought to be one of the last plays that Shakespeare wrote alone. After the first scene, which takes place on a ship at sea during a tempest, the rest of the story is set on a remote island, where the sorcerer Prospero, a complex and contradictory character, lives with his daughter Miranda, and his two servants-Caliban, a savage monster figure, and Ariel, an airy spirit. The play contains music and songs that evoke the spirit of enchantment on the island. It explores many themes, including magic, betrayal, revenge, and family. In Act IV, a wedding masque serves as a play-within-the play, and contributes spectacle, allegory, and elevated language.
|Author||: Philip C Kolin|
First published in 1991, this book is the first annotated bibliography of feminist Shakespeare criticism from 1975 to 1988 — a period that saw a remarkable amount of ground-breaking work. While the primary focus is on feminist studies of Shakespeare, it also includes wide-ranging works on language, desire, role-playing, theatre conventions, marriage, and Elizabethan and Jacobean culture — shedding light on Shakespeare’s views on and representation of women, sex and gender. Accompanying the 439 entries are extensive, informative annotations that strive to maintain the original author’s perspective, supplying a careful and thorough account of the main points of an article.
|Author||: Samuel Lebens|
|Editor||: Oxford University Press|
Samuel Lebens takes the three principles of Jewish faith, as proposed by Rabbi Joseph Albo (1380-1444), in order to scrutinize and refine them with the toolkit of contemporary analytic philosophy. What could it mean for a perfect being to create a world from nothing? Could our world be anything more than a figment of God's imagination? What is the Torah? What does Judaism expect from a Messiah, and what would it mean for a world to be redeemed? These questions are explored in conversation with a wide array of Jewish sources and with an eye towards diverse fields of contemporary research, such as cosmology, philosophical logic, the ontology of literature, and the metaphysics of time. The Principles of Judaism articulates the most fundamental axioms of Orthodox Judaism in the vernacular of contemporary philosophy.
|Author||: Peter Holbrook|
|Editor||: Cambridge University Press|
Providing a provocative and original perspective on Shakespeare, Peter Holbrook argues that Shakespeare is an author friendly to such essentially modern and unruly notions as individuality, freedom, self-realization and authenticity. These expressive values vivify Shakespeare's own writing; they also form a continuous, and a central, part of the Shakespearean tradition. Engaging with the theme of the individual will in specific plays and poems, and examining a range of libertarian-minded scholarly and literary responses to Shakespeare over time, Shakespeare's Individualism advances the proposition that one of the key reasons for reading Shakespeare today is his commitment to individual liberty - even as we recognize that freedom is not just an indispensable ideal but also, potentially, a dangerous one. Engagingly written and jargon free, this book demonstrates that Shakespeare has important things to say about fundamental issues of human existence.
|Author||: Martin Orkin|
This remarkable volume challenges scholars and students to look beyond a dominant European and North American 'metropolitan bank' of Shakespeare knowledge. As well as revealing the potential for a new understanding of Shakespeare's plays, Martin Orkin adopts a fresh approach to issues of power, where 'proximations' emerge from a process of dialogue and challenge traditional notions of authority. Divided into two parts this book: encourages us to recognise the way in which 'local' or 'non-metropolitan' knowledges and experiences might extend understanding of Shakespeare's texts and their locations demonstrates the use of local as well as metropolitan knowledges in exploring the presentation of masculinity in Shakespeare's late plays. These plays themselves dramatise encounters with different cultures and, crucially, challenges to established authority.