How to Do Things with Shakespeare: New Approaches, New Essays

ISBN-13: 9781405135269 / Angielski / Twarda / 2007 / 320 str.

Maguire; Laurie E. Maguire

Opis

This collection of 12 essays uses the works of Shakespeare to show how experts in their field formulate critical positions.

• A helpful guidebook for anyone trying to think of a new approach to Shakespeare
  
• Twelve experts take new critical positions in their field of study using the writings and analysis of Shakespeare, to show how writers (students and academics) find topics and develop their ideas
  
• Features autobiographical prefaces that explain how the experts chose their topics and why the editor commissioned these particular essays, topics, and authors
  
• Argues that literary research is a reaction to experiences, thoughts or feelings
  
• Essays are arranged in small dialogues of two or three, forming a debate
  
• Teaches students to respond individually to cultural positions

Recenzje

"The contributors to Laurie Maguire′s book show by doing.... They are unusually present in what they write, speaking directly to their presumed student readers. This is in some ways the sort of writing we associate with school textbooks, and it is all the better for that." ( Times Literary Supplement, October 2008)

Spis treści

Notes on Contributors.

Introduction: Laurie E. Maguire (Magdalen College, University of Oxford).

Part I How To Do Things with Sources.

1. French Connections: The Je–Ne–Sais–Quoi in Montaigne and Shakespeare: Richard Scholar (Oriel College, Oxford).

2. Romancing the Greeks: Cymbeline s Genres and Models: Tanya Pollard (Brooklyn College, City University of New York).

3. How the Renaissance (Mis)Used Sources: The Art of Misquotation: Julie Maxwell (Lucy Cavendish College, Cambridge).

Part II How To Do Things with History.

4. Henry VIII, or All is True: Shakespeare s Favorite Play: Chris R. Kyle (Syracuse University).

5. Catholicism and Conversion in Love s Labour s Lost: Gillian Woods (Wadham College, Oxford).

Part III How To Do Things with Texts.

6. Watching as Reading: The Audience and Written Text in Shakespeare s Playhouse: Tiffany Stern (University College, Oxford).

7. What Do Editors Do and Why Does It Matter?: Anthony B. Dawson (University of British Columbia).

Part IV How To Do Things with Animals.

8. The dog is himself : Humans, Animals, and Self–Control in The Two Gentlemen of Verona: Erica Fudge.

(Middlesex University).

9. Sheepishness in The Winter s Tale: Paul Yachnin (McGill University).

Part V How To Do Things with Posterity.

10. Time and the Nature of Sequence in Shakespeare s Sonnets: In sequent toil all forwards do contend : Georgia Brown (independent scholar).

11. Canons and Cultures: Is Shakespeare Universal? : A. E. B. Coldiron (Florida State University).

12. Freezing the Snowman : (How) Can We Do Performance Criticism?: Emma Smith (Hertford College, Oxford).

Index

O autorze

Laurie Maguire is a Fellow of Magdalen College and Reader in English at Oxford University. Her books include Shakespearean Suspect Texts (1996), Studying Shakespeare (2004), Where There s a Will There s a Way (2006), and Shakespeare s Names (2007). Maguire has published widely on Renaissance drama, textual problems, performance, and women′s studies.

Blurb

How do writers find topics and develop their ideas?

How To Do Things with Shakespeare: New Approaches, New Essays shows us how literary research is a reaction to experiences, thoughts, or feelings and illuminates the thought process that leads a reader to take a critical stance.

Twelve experts take new critical positions in their field of study using the writings and analysis of Shakespeare. How do The Two Gentlemen of Verona and The Winter s Tale frame discussions on animal ethics? What is the role of history as a character in Henry VIII and Love s Labour s Lost? Each contributor shares insights into what ignited his or her curiosity and led to the resulting essay on each topic. Illuminating the thought processes of these particular writers leads to larger questions: What problems, omissions, or dissatisfactions lead us to our critical positions? What is the internal dialogue that precedes the writing process? Research often moves in unanticipated directions, so here readers are invited to judge first–hand how closely each final essay relates to (and how far it develops from!) the initial questions that inspired it.