10 results
Chapter 6 - Romeo and Juliet and the Western
- from Part II - Extending Genre
- Edited by Victoria Bladen, University of Queensland, Sarah Hatchuel, University Paul-Valéry Montpellier, Nathalie Vienne-Guerrin, University Paul-Valéry Montpellier
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- Book:
- Shakespeare on Screen: Romeo and Juliet
- Published online:
- 10 October 2023
- Print publication:
- 14 December 2023, pp 95-109
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Summary
Here I will be interested in points of resistance and incompatibility between Shakespeare and film genres, in particular the case of Romeo and Juliet and the Western. One might expect that Romeo and Juliet, Shakespeare’s most bankable play, would be an obvious candidate for adaptation into a Western, one of cinema’s most popular genres. In theory, it is certainly possible to bend the play and the genre in each other’s direction. In practice, however, Romeo and Juliet has seemed difficult to adapt as a Western. Why this is so tells us something about the limits of Shakespeare’s adaptability within film genres.
Chapter 9 - ‘Easy Lear’: Harry and Tonto and the American Road Movie
- from Part III - The Genres of Lear
- Edited by Victoria Bladen, University of Queensland, Sarah Hatchuel, Université Paul Valéry, Montpellier, Nathalie Vienne-Guerrin, Université Paul Valéry, Montpellier
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- Book:
- Shakespeare on Screen: King Lear
- Published online:
- 10 September 2019
- Print publication:
- 26 September 2019, pp 140-154
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Harry and Tonto (dir. Paul Mazursky, 1974) uses the American road movie, a signature genre of late 1960s and early 1970s film, to address the experience of an older man who, exiled from his home, travels through America, coming in contact with the nation’s counterculture and working-class culture, in the process reassessing himself and his place in American society. Though the film was critically lauded in its day, few Shakespeare film scholars afterwards have explored its many parallels with King Lear, even though passages from the play are explicit points of reference in multiple scenes and there are myriad echoes of Lear in characterization and narrative. This chapter examines how and why writer-director Paul Mazursky brought Shakespeare’s King Lear and the American road movie of the early 1970s into productive dialogue with one another. Lear provides a means for broadening the range of the road movie beyond youth culture, allowing for re-examination of relations between generations and suggesting the congruence between Lear’s ‘unaccommodated man’ and those outside the American cultural mainstream. At the same time, the road movie provides King Lear a means to be accommodated to a specifically American sensibility.
14 - Popular Culture and Shakespeare’s Language
- from Part IV - Contemporary Sites for Language Change
- Edited by Lynne Magnusson, University of Toronto, David Schalkwyk, Queen Mary University of London
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- Book:
- The Cambridge Companion to Shakespeare's Language
- Published online:
- 01 July 2019
- Print publication:
- 08 August 2019, pp 244-262
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Summary
In his discussion of speech act theory, Jacques Derrida argues that all language is subject to the principle of iterability, the capacity for language to be repeated in all sorts of new contexts.
Chapter 14 - The Hogarth Shakespeare Series: Redeeming Shakespeare’s Literariness
- Edited by Andrew James Hartley, University of North Carolina, Charlotte
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- Book:
- Shakespeare and Millennial Fiction
- Published online:
- 04 November 2017
- Print publication:
- 16 November 2017, pp 230-250
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Chapter 14 - Almereyda's Cymbeline
- Edited by Sarah Hatchuel, Université du Havre, France, Nathalie Vienne-Guerrin, Université Paul Valéry, Montpellier
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- Book:
- Shakespeare on Screen
- Published online:
- 16 June 2017
- Print publication:
- 27 April 2017, pp 232-250
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7 - Commemorating Shakespeare in America, 1864
- Edited by Clara Calvo, Universidad de Murcia, Spain, Coppélia Kahn, Brown University, Rhode Island
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- Book:
- Celebrating Shakespeare
- Published online:
- 05 November 2015
- Print publication:
- 19 November 2015, pp 140-160
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Chapter 10 - Anna's Sin and the circulation of Othello on film
- Edited by Sarah Hatchuel, University of Le Havre, Nathalie Vienne-Guerrin, Université Paul Valéry, Montpellier
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- Book:
- Shakespeare on Screen: <I>Othello</I>
- Published online:
- 05 July 2015
- Print publication:
- 30 June 2015, pp 157-176
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Contributors
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- By Mitchell Aboulafia, Frederick Adams, Marilyn McCord Adams, Robert M. Adams, Laird Addis, James W. Allard, David Allison, William P. Alston, Karl Ameriks, C. Anthony Anderson, David Leech Anderson, Lanier Anderson, Roger Ariew, David Armstrong, Denis G. Arnold, E. J. Ashworth, Margaret Atherton, Robin Attfield, Bruce Aune, Edward Wilson Averill, Jody Azzouni, Kent Bach, Andrew Bailey, Lynne Rudder Baker, Thomas R. Baldwin, Jon Barwise, George Bealer, William Bechtel, Lawrence C. Becker, Mark A. Bedau, Ernst Behler, José A. Benardete, Ermanno Bencivenga, Jan Berg, Michael Bergmann, Robert L. Bernasconi, Sven Bernecker, Bernard Berofsky, Rod Bertolet, Charles J. Beyer, Christian Beyer, Joseph Bien, Joseph Bien, Peg Birmingham, Ivan Boh, James Bohman, Daniel Bonevac, Laurence BonJour, William J. Bouwsma, Raymond D. Bradley, Myles Brand, Richard B. Brandt, Michael E. Bratman, Stephen E. Braude, Daniel Breazeale, Angela Breitenbach, Jason Bridges, David O. Brink, Gordon G. Brittan, Justin Broackes, Dan W. Brock, Aaron Bronfman, Jeffrey E. Brower, Bartosz Brozek, Anthony Brueckner, Jeffrey Bub, Lara Buchak, Otavio Bueno, Ann E. Bumpus, Robert W. Burch, John Burgess, Arthur W. Burks, Panayot Butchvarov, Robert E. Butts, Marina Bykova, Patrick Byrne, David Carr, Noël Carroll, Edward S. Casey, Victor Caston, Victor Caston, Albert Casullo, Robert L. Causey, Alan K. L. Chan, Ruth Chang, Deen K. Chatterjee, Andrew Chignell, Roderick M. Chisholm, Kelly J. Clark, E. J. Coffman, Robin Collins, Brian P. Copenhaver, John Corcoran, John Cottingham, Roger Crisp, Frederick J. Crosson, Antonio S. Cua, Phillip D. Cummins, Martin Curd, Adam Cureton, Andrew Cutrofello, Stephen Darwall, Paul Sheldon Davies, Wayne A. Davis, Timothy Joseph Day, Claudio de Almeida, Mario De Caro, Mario De Caro, John Deigh, C. F. Delaney, Daniel C. Dennett, Michael R. DePaul, Michael Detlefsen, Daniel Trent Devereux, Philip E. Devine, John M. Dillon, Martin C. Dillon, Robert DiSalle, Mary Domski, Alan Donagan, Paul Draper, Fred Dretske, Mircea Dumitru, Wilhelm Dupré, Gerald Dworkin, John Earman, Ellery Eells, Catherine Z. Elgin, Berent Enç, Ronald P. Endicott, Edward Erwin, John Etchemendy, C. Stephen Evans, Susan L. Feagin, Solomon Feferman, Richard Feldman, Arthur Fine, Maurice A. Finocchiaro, William FitzPatrick, Richard E. Flathman, Gvozden Flego, Richard Foley, Graeme Forbes, Rainer Forst, Malcolm R. Forster, Daniel Fouke, Patrick Francken, Samuel Freeman, Elizabeth Fricker, Miranda Fricker, Michael Friedman, Michael Fuerstein, Richard A. Fumerton, Alan Gabbey, Pieranna Garavaso, Daniel Garber, Jorge L. A. Garcia, Robert K. Garcia, Don Garrett, Philip Gasper, Gerald Gaus, Berys Gaut, Bernard Gert, Roger F. Gibson, Cody Gilmore, Carl Ginet, Alan H. Goldman, Alvin I. Goldman, Alfonso Gömez-Lobo, Lenn E. Goodman, Robert M. Gordon, Stefan Gosepath, Jorge J. E. Gracia, Daniel W. Graham, George A. Graham, Peter J. Graham, Richard E. Grandy, I. Grattan-Guinness, John Greco, Philip T. Grier, Nicholas Griffin, Nicholas Griffin, David A. Griffiths, Paul J. Griffiths, Stephen R. Grimm, Charles L. Griswold, Charles B. Guignon, Pete A. Y. Gunter, Dimitri Gutas, Gary Gutting, Paul Guyer, Kwame Gyekye, Oscar A. Haac, Raul Hakli, Raul Hakli, Michael Hallett, Edward C. Halper, Jean Hampton, R. James Hankinson, K. R. Hanley, Russell Hardin, Robert M. Harnish, William Harper, David Harrah, Kevin Hart, Ali Hasan, William Hasker, John Haugeland, Roger Hausheer, William Heald, Peter Heath, Richard Heck, John F. Heil, Vincent F. Hendricks, Stephen Hetherington, Francis Heylighen, Kathleen Marie Higgins, Risto Hilpinen, Harold T. Hodes, Joshua Hoffman, Alan Holland, Robert L. Holmes, Richard Holton, Brad W. Hooker, Terence E. Horgan, Tamara Horowitz, Paul Horwich, Vittorio Hösle, Paul Hoβfeld, Daniel Howard-Snyder, Frances Howard-Snyder, Anne Hudson, Deal W. Hudson, Carl A. Huffman, David L. Hull, Patricia Huntington, Thomas Hurka, Paul Hurley, Rosalind Hursthouse, Guillermo Hurtado, Ronald E. Hustwit, Sarah Hutton, Jonathan Jenkins Ichikawa, Harry A. Ide, David Ingram, Philip J. Ivanhoe, Alfred L. Ivry, Frank Jackson, Dale Jacquette, Joseph Jedwab, Richard Jeffrey, David Alan Johnson, Edward Johnson, Mark D. Jordan, Richard Joyce, Hwa Yol Jung, Robert Hillary Kane, Tomis Kapitan, Jacquelyn Ann K. Kegley, James A. Keller, Ralph Kennedy, Sergei Khoruzhii, Jaegwon Kim, Yersu Kim, Nathan L. King, Patricia Kitcher, Peter D. Klein, E. D. Klemke, Virginia Klenk, George L. Kline, Christian Klotz, Simo Knuuttila, Joseph J. Kockelmans, Konstantin Kolenda, Sebastian Tomasz Kołodziejczyk, Isaac Kramnick, Richard Kraut, Fred Kroon, Manfred Kuehn, Steven T. Kuhn, Henry E. Kyburg, John Lachs, Jennifer Lackey, Stephen E. Lahey, Andrea Lavazza, Thomas H. Leahey, Joo Heung Lee, Keith Lehrer, Dorothy Leland, Noah M. Lemos, Ernest LePore, Sarah-Jane Leslie, Isaac Levi, Andrew Levine, Alan E. Lewis, Daniel E. Little, Shu-hsien Liu, Shu-hsien Liu, Alan K. L. Chan, Brian Loar, Lawrence B. Lombard, John Longeway, Dominic McIver Lopes, Michael J. Loux, E. J. Lowe, Steven Luper, Eugene C. Luschei, William G. Lycan, David Lyons, David Macarthur, Danielle Macbeth, Scott MacDonald, Jacob L. Mackey, Louis H. Mackey, Penelope Mackie, Edward H. Madden, Penelope Maddy, G. B. Madison, Bernd Magnus, Pekka Mäkelä, Rudolf A. Makkreel, David Manley, William E. Mann (W.E.M.), Vladimir Marchenkov, Peter Markie, Jean-Pierre Marquis, Ausonio Marras, Mike W. Martin, A. P. Martinich, William L. McBride, David McCabe, Storrs McCall, Hugh J. McCann, Robert N. McCauley, John J. McDermott, Sarah McGrath, Ralph McInerny, Daniel J. McKaughan, Thomas McKay, Michael McKinsey, Brian P. McLaughlin, Ernan McMullin, Anthonie Meijers, Jack W. Meiland, William Jason Melanson, Alfred R. Mele, Joseph R. Mendola, Christopher Menzel, Michael J. Meyer, Christian B. Miller, David W. Miller, Peter Millican, Robert N. Minor, Phillip Mitsis, James A. Montmarquet, Michael S. Moore, Tim Moore, Benjamin Morison, Donald R. Morrison, Stephen J. Morse, Paul K. Moser, Alexander P. D. Mourelatos, Ian Mueller, James Bernard Murphy, Mark C. Murphy, Steven Nadler, Jan Narveson, Alan Nelson, Jerome Neu, Samuel Newlands, Kai Nielsen, Ilkka Niiniluoto, Carlos G. Noreña, Calvin G. Normore, David Fate Norton, Nikolaj Nottelmann, Donald Nute, David S. Oderberg, Steve Odin, Michael O’Rourke, Willard G. Oxtoby, Heinz Paetzold, George S. Pappas, Anthony J. Parel, Lydia Patton, R. P. Peerenboom, Francis Jeffry Pelletier, Adriaan T. Peperzak, Derk Pereboom, Jaroslav Peregrin, Glen Pettigrove, Philip Pettit, Edmund L. Pincoffs, Andrew Pinsent, Robert B. Pippin, Alvin Plantinga, Louis P. Pojman, Richard H. Popkin, John F. Post, Carl J. Posy, William J. Prior, Richard Purtill, Michael Quante, Philip L. Quinn, Philip L. Quinn, Elizabeth S. Radcliffe, Diana Raffman, Gerard Raulet, Stephen L. Read, Andrews Reath, Andrew Reisner, Nicholas Rescher, Henry S. Richardson, Robert C. Richardson, Thomas Ricketts, Wayne D. Riggs, Mark Roberts, Robert C. Roberts, Luke Robinson, Alexander Rosenberg, Gary Rosenkranz, Bernice Glatzer Rosenthal, Adina L. Roskies, William L. Rowe, T. M. Rudavsky, Michael Ruse, Bruce Russell, Lilly-Marlene Russow, Dan Ryder, R. M. Sainsbury, Joseph Salerno, Nathan Salmon, Wesley C. Salmon, Constantine Sandis, David H. Sanford, Marco Santambrogio, David Sapire, Ruth A. Saunders, Geoffrey Sayre-McCord, Charles Sayward, James P. Scanlan, Richard Schacht, Tamar Schapiro, Frederick F. Schmitt, Jerome B. Schneewind, Calvin O. Schrag, Alan D. Schrift, George F. Schumm, Jean-Loup Seban, David N. Sedley, Kenneth Seeskin, Krister Segerberg, Charlene Haddock Seigfried, Dennis M. Senchuk, James F. Sennett, William Lad Sessions, Stewart Shapiro, Tommie Shelby, Donald W. Sherburne, Christopher Shields, Roger A. Shiner, Sydney Shoemaker, Robert K. Shope, Kwong-loi Shun, Wilfried Sieg, A. John Simmons, Robert L. Simon, Marcus G. Singer, Georgette Sinkler, Walter Sinnott-Armstrong, Matti T. Sintonen, Lawrence Sklar, Brian Skyrms, Robert C. Sleigh, Michael Anthony Slote, Hans Sluga, Barry Smith, Michael Smith, Robin Smith, Robert Sokolowski, Robert C. Solomon, Marta Soniewicka, Philip Soper, Ernest Sosa, Nicholas Southwood, Paul Vincent Spade, T. L. S. Sprigge, Eric O. Springsted, George J. Stack, Rebecca Stangl, Jason Stanley, Florian Steinberger, Sören Stenlund, Christopher Stephens, James P. Sterba, Josef Stern, Matthias Steup, M. A. Stewart, Leopold Stubenberg, Edith Dudley Sulla, Frederick Suppe, Jere Paul Surber, David George Sussman, Sigrún Svavarsdóttir, Zeno G. Swijtink, Richard Swinburne, Charles C. Taliaferro, Robert B. Talisse, John Tasioulas, Paul Teller, Larry S. Temkin, Mark Textor, H. S. Thayer, Peter Thielke, Alan Thomas, Amie L. Thomasson, Katherine Thomson-Jones, Joshua C. Thurow, Vzalerie Tiberius, Terrence N. Tice, Paul Tidman, Mark C. Timmons, William Tolhurst, James E. Tomberlin, Rosemarie Tong, Lawrence Torcello, Kelly Trogdon, J. D. Trout, Robert E. Tully, Raimo Tuomela, John Turri, Martin M. Tweedale, Thomas Uebel, Jennifer Uleman, James Van Cleve, Harry van der Linden, Peter van Inwagen, Bryan W. Van Norden, René van Woudenberg, Donald Phillip Verene, Samantha Vice, Thomas Vinci, Donald Wayne Viney, Barbara Von Eckardt, Peter B. M. Vranas, Steven J. Wagner, William J. Wainwright, Paul E. Walker, Robert E. Wall, Craig Walton, Douglas Walton, Eric Watkins, Richard A. Watson, Michael V. Wedin, Rudolph H. Weingartner, Paul Weirich, Paul J. Weithman, Carl Wellman, Howard Wettstein, Samuel C. Wheeler, Stephen A. White, Jennifer Whiting, Edward R. Wierenga, Michael Williams, Fred Wilson, W. Kent Wilson, Kenneth P. Winkler, John F. Wippel, Jan Woleński, Allan B. Wolter, Nicholas P. Wolterstorff, Rega Wood, W. Jay Wood, Paul Woodruff, Alison Wylie, Gideon Yaffe, Takashi Yagisawa, Yutaka Yamamoto, Keith E. Yandell, Xiaomei Yang, Dean Zimmerman, Günter Zoller, Catherine Zuckert, Michael Zuckert, Jack A. Zupko (J.A.Z.)
- Edited by Robert Audi, University of Notre Dame, Indiana
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- Book:
- The Cambridge Dictionary of Philosophy
- Published online:
- 05 August 2015
- Print publication:
- 27 April 2015, pp ix-xxx
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18 - ‘There won't be puppets, will there?’: ‘Heroic’ authorship and the cultural politics of Anonymous
- from Part III - A cultural phenomenon: Did Shakespeare write Shakespeare?
- Edited by Paul Edmondson, Stanley Wells
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- Book:
- Shakespeare beyond Doubt
- Published online:
- 05 April 2013
- Print publication:
- 18 April 2013, pp 215-224
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Summary
At first glance, Anonymous (Sony Pictures, 2011) could not seem more different from other recent fictional treatments of Shakespeare's biography. Instead of imagining the circumstances of Shakespeare the man becoming ‘Shakespeare’ the author, the typical concern of such tales, it portrays Shakespeare as a reprehensibly opportunistic, illiterate buffoon and re-assigns the role of author to the Earl of Oxford, the dashing nobleman and amateur playwright. Instead of focusing on backstage details of performance, it attends far more to the mechanics of how the plays got from Oxford's pen to the Rose. Though recent biographical fictions of Shakespeare have become more interested in political matters, Anonymous seems to stand out for its willingness to place courtly manoeuvering so squarely in the foreground. Even so, Anonymous is actually quite conventional in its conceptualization of authorship and shares with recent fictional treatments of Shakespeare a body of crucial assumptions. What makes the film distinctive, I will argue, is its conceptualization of Shakespearian spectatorship and of popular culture. There the cultural politics of the Oxfordian case it makes come most clearly into view.
The film's claim to historical authenticity is crucial to its case for Oxford as the true author of Shakespeare's plays, and so how it pursues that goal is worth examining. What becomes immediately apparent from the pile-up of factual errors is that the film's historicity is not a matter of fidelity to the verifiable historical record. It is worth observing, then, that the ‘feeling’ of historical accuracy often springs from details culled from other Shakespeare and Shakespeare-era films. The list of intercinematic references is long, particularly those that suggest we are getting an unromanticized vision of the Elizabethan past, a visual counterpart to the ‘darker story of quills and swords, of power and betrayal’ that the prologue promises. The muddy streets of London owe to Shakespeare in Love and especially to the sloppy battlefields of Agincourt in Branagh's Henry V, where mud serves as a signifier of the gritty political realities of early modern war; the rainstorm in the midst of the Hamlet performance owes to the rain-soaked performance of 2.1 in Olivier's Henry V, a reminder of the harsh realities of open-air performance; the sordid brothel scene involving Shakespeare owes to scenes with Burbage and Tilney in Shakespeare in Love; the darkly lit corridors of court power and myriad images of courtiers peering from behind screens or through leaded windows owe to Elizabeth; the erotic escapades of male-model handsome Oxford combined with spicy court intrigue owe to the hot-sex-and-politics formula of The Tudors; Oxford's ink-stained fingers, sign of the authentically early modern author, owe to Shakespeare in Shakespeare in Love.
Post-Textual Shakespeare
- Edited by Peter Holland, University of Notre Dame, Indiana
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- Book:
- Shakespeare Survey
- Published online:
- 28 November 2011
- Print publication:
- 06 October 2011, pp 145-162
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Summary
No tongue, all eyes! Be silent.
(The Tempest, 4.1.59)In 2007, a curious billboard appeared in London advertising the move from Waterloo to St Pancras stations for the London hub of the Eurorail train to Paris. Above the logo ‘London is changing’ was featured the image of a skeleton kneeling on a stage, holding in his bony hand the fully fleshed head of a man who looked back at the skeleton's skull with astonishment. In 2004 and 2005, a poster campaign in Swiss cities advertised the Espace 2 channel of Radio Suisse Romande with the image of two teens kissing in a subway train filled with inattentive passengers, accompanied by the simple, one-word caption, ‘Shakespeare.’ These advertisements provoke a deceptively simple question: is this Shakespeare? In what sense Shakespeare? To ask the question ‘is this Shakespeare?’ is to ponder the nature of the boundaries that extend around the designation ‘Shakespearian’, laden though that designation is with cultural power and value. Like lines on a map, those boundaries may have the illusion of permanence at a given moment, but in reality they are always in flux, constantly being renegotiated in response to a variety of cultural forces. Here I will be discussing a particular kind of limit case that poses a challenge to one of the founding principles of Shakespeare studies. My claim, in a nutshell, is that both popular culture and avant-garde performance have transgressed and redrawn the boundary of what can constitute ‘Shakespeare’ with ever-greater insistence in the last twenty years, and that they have done so in response to a newly powerful cultural dominant in the late twentieth and early twenty-first century. Though I will eventually turn to two noteworthy recent performances of Shakespeare, I begin with examples from advertising because advertising stands at the intersection of popular culture and avant-garde aesthetics, amplifying (and thus making visible) ideological and representational strategies it borrows from elsewhere. Though the aims of the ads and the performances are quite different, what they reveal are the traces of processes at work in popular and performance culture more generally. I hope to suggest how, under the pressure of mass mediatization, contemporary Shakespeare may be undergoing something of a paradigm shift that raises foundational questions about how we, as Shakespearian professionals, conceptualize the ‘essential’ or ‘authentic’ Shakespeare and situate his cultural value.