Beginning ShakespeareManchester University Press, 06.05.2005 - 212 Seiten Beginning Shakespeare introduces students to the study of Shakespeare, and grounds their understanding of his work in theoretical discourses. After an introductory survey of the dominant approaches of the past, seven chapters examine the major current critical approaches to Shakespeare; psychoanalysis, New Historicism, Cultural Materialism, gender studies, queer theory, postcolonial criticism and performance criticism. A further chapter looks at the growing roles of biography, attribution studies and textual studies. |
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Inhalt
Introduction | 1 |
Critical histories | 5 |
enter Shakespear | 11 |
Enshrinement | 13 |
A C Bradley and character study | 16 |
images and patterns | 21 |
Tillyard and the Elizabethan world picture | 26 |
Shakespeare our contemporary | 31 |
Terence Hawkes and the politics of meaning | 105 |
Further reading | 109 |
New factualisms | 111 |
Attribution studies | 118 |
Editing | 124 |
Further reading | 132 |
Gender studies and queer theory | 134 |
Boy actors | 137 |
Further reading | 34 |
Psychoanalysis | 36 |
Freud and his early followers | 39 |
C G Jung and the theory of types and archetypes | 44 |
Jacques Lacan and the theory of the subject | 51 |
PostLacanian psychoanalytic approaches | 58 |
Further reading | 61 |
New Historicism | 63 |
Invisible Bullets | 71 |
New Historicism meets psychoanalysis | 74 |
Leonard Tennenhouse and the interest in power | 77 |
New Historicism meets gender | 82 |
Further reading | 87 |
Cultural Materialism | 89 |
a landmark text | 91 |
literature and power | 94 |
Political feminisms | 140 |
Queer theory | 151 |
Further reading | 160 |
Postcolonial criticism | 162 |
The Tempest | 164 |
Postcolonial Tempests | 180 |
Othello | 183 |
Further reading | 186 |
Shakespeare in performance | 188 |
Henry V in performance | 193 |
The Olivier version | 197 |
StratforduponAvon | 198 |
Political performance criticism | 206 |
Further reading | 209 |
210 | |