Replacement Shakespeares, released in 1985, shook up the area of Shakespearean reports, demythologising Shakespeare and utilising 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 frame.
Both demonstrated students and new names look right here, offering a huge cross-section of up to date Shakespearean reviews, together with psychoanalysis, sexual and gender politics, race and new historicism.
Alternative Shakespeares: quantity 2 represents the vanguard of up to date Shakespearean stories. This urgently-needed addition to a vintage paintings of literary feedback is one that academics and students will welcome.
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Extra resources for Alternative Shakespeares, Volume 2
Mardian’s report of Cleopatra’s suicide confirms Antony’s own intention to kill himself, and by the time Cleopatra cancels her false message it is too late. But once again this turns out to be an absence which promises presence. Her supposed death constitutes a summons to Antony, and he imagines 44 CLEOPATRA’S SEDUCTION a triumphal entry into the Elysian world which re-enacts, this time for them both, Cleopatra’s own earlier depopulation of the city: Where souls do couch on flowers we’ll hand in hand And with our sprightly port make the ghosts gaze.
223-8) By drawing everything to herself, she emblematically isolates Antony in an absence which precipitates desire. But this absence that seduces is always attended by the expectation or the offer of presence. When she lands, she promptly reverses his invitation to supper, and Antony, Being barbered ten times o’er, goes to the feast, And, for his ordinary, pays his heart For what his eyes eat only. (II. ii. 234-6) Death is the ultimate absence. When Cleopatra announces her own death, she overplays her hand.
An undeniable reliance upon 30 ALTERNATIVE SHAKESPEARES 2 Foucault’s concept of power as ‘the multiplicity of force relations’ (1979:92) in society, not primarily repressive but productive and acutely focused upon the construction of subjects and subjectivities, has led to charges that new historicists, like Foucault, foreclose all possibility of social struggle or contestation. Focusing on Greenblatt but generalizing about new historicism and Foucault, Frank Lentricchia argues that [Greenblatt’s] description of power endorses Foucault’s theory of power, preserving not only the master’s repeated insistence on the concrete institutional character of power, its palpability, as it were, but also his glide into a conception of power that is elusively and literally indefinable—not finitely anchored but diffused from nowhere to everywhere, and saturating all social relations to the point that all conflicts and ‘jostlings’ among social groups become a mere show of political dissension, a prearranged theater of struggle set upon the substratum of a monolithic agency which produces ‘opposition’ as one of its delusive political effects.