While serious concept met literary reviews within the Nineteen Seventies and '80s, one of the most radical and interesting theoretical paintings concentrated at the quasi-sacred determine of Shakespeare. In substitute Shakespeares, John Drakakis introduced jointly key essays by way of founding figures during this circulate to remake Shakespeare studies.
A new afterword by means of Robert Weimann outlines the intense influence of different Shakespeares on educational Shakespeare reviews. yet as but, the Shakespeare fable maintains to thrive either in Stratford and in our faculties. those essays are as correct and as robust as they have been upon e-book and with a contributor record that reads like a 'who's who' of recent Shakespeare reports, substitute Shakespeares calls for to be learn.
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Extra resources for Alternative Shakespeares, Volume 1 (2nd Edition)
Indeed, if anything, this is the mailed fist of coercion inside the velvet glove of a submissive intelligence. Knights’s definition of the ‘good critic’ as someone who points ‘to something that is actually contained in the work of art’ as opposed to ‘the bad critic’ who ‘points away from the work in question’ (p. 29) effectively sidesteps the problems of meaning, while at the same time marginalizing contextual study in favour of a dominant metaphysics of the text. Investigations of the processes of the making of the text, and of its reconstitution in criticism, which, inevitably, point away from the phenomeno-logical texture of its surface, are condemned summarily as bad criticism.
16) replaces the Victorian image of Shakespeare as a tired artist with one of a more actively engaged allegorizing poetic consciousness. But such a responsiveness, relying upon the moment of the text’s impact upon the reader, could also be misled, as evidenced in the eccentricities of his first two essays on Hamlet. Moreover, it is clear from Wilson Knight’s own, often 20 ALTERNATIVE SHAKESPEARES stimulating, analyses that the image-clusters and thematic patterns which he discerned and then responded to were products of an evaluative reading, though it was one which sought to efface its own role as structuring agent.
102)—looks back to Coleridge, but also points forward to those studies of imagery and wordplay which have been more or less loosely allied to assumptions about the mental development of Shakespeare as man and artist. Indeed, in the interval between Explorations (1933) and the later Some Shakespearean Themes (1959) the two issues became gradually fused together, though in a pragmatic rather than in a systematic way. Knights of Drama and Society in the Age of Jonson (1937), who mobilized historical data as a backcloth to a series of moral arguments about Jonson and his fellow dramatists, and their attitudes towards an encroaching economic materialism, has never really mingled seriously with the Shakespearean critic of Explorations and Some Shakespearean Themes at the theoretical level, although what unites all these projects is the desire to abstract ‘feeling’ as the basis for a definition of an even more abstract ‘life’.