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Throughout his plays, Shakespeare placed an extraordinary emphasis on the power of the face to reveal or conceal moral character and emotion, repeatedly inviting the audience to attend carefully to facial features and expressions. The essays collected here disclose that an attention to the power of the face in Shakespeare’s England helps explain moments when Shakespeare’s language of the self becomes intertwined with his language of the face. As the range of these essays demonstrates, an attention to Shakespeare’s treatment of faces has implications for our understanding of the historical and cultural context in which he wrote, as well as the significance of the face for the ongoing interpretation and production of the plays. Engaging with a variety of critical strands that have emerged from the so-called turn to the body, the contributors to this volume argue that Shakespeare’s invitation to look to the face for clues to inner character is not an invitation to seek a static text beneath an external image, but rather to experience the power of the face to initiate reflection, judgment, and action. The evidence of the plays suggests that Shakespeare understood that this experience was extremely complex and mysterious. By turning attention to the face, the collection offers important new analyses of a key feature of Shakespeare’s dramatic attention to the part of the body that garnered the most commentary in early modern England. By bringing together critics interested in material culture studies with those focused on philosophies of self and other and historians and theorists of performance, Shakespeare and the Power of the Face constitutes a significant contribution to our growing understanding of attitudes towards embodiment in Shakespeare’s England.
Throughout his plays, Shakespeare placed an extraordinary emphasis on the power of the face to reveal or conceal moral character and emotion, repeatedly inviting the audience to attend carefully to facial features and expressions. The essays collected here disclose that an attention to the power of the face in Shakespeare’s England helps explain moments when Shakespeare’s language of the self becomes intertwined with his language of the face. As the range of these essays demonstrates, an attention to Shakespeare’s treatment of faces has implications for our understanding of the historical and cultural context in which he wrote, as well as the significance of the face for the ongoing interpretation and production of the plays. Engaging with a variety of critical strands that have emerged from the so-called turn to the body, the contributors to this volume argue that Shakespeare’s invitation to look to the face for clues to inner character is not an invitation to seek a static text beneath an external image, but rather to experience the power of the face to initiate reflection, judgment, and action. The evidence of the plays suggests that Shakespeare understood that this experience was extremely complex and mysterious. By turning attention to the face, the collection offers important new analyses of a key feature of Shakespeare’s dramatic attention to the part of the body that garnered the most commentary in early modern England. By bringing together critics interested in material culture studies with those focused on philosophies of self and other and historians and theorists of performance, Shakespeare and the Power of the Face constitutes a significant contribution to our growing understanding of attitudes towards embodiment in Shakespeare’s England.
Originally published as: Shakespeare: his work and his world / illustrated by Robert Ingpen. 2001.
"Brilliant, beautifully organized, exceedingly readable." —Philip Roth World-renowned Shakespeare scholar Stephen Greenblatt explores the playwright’s insight into bad (and often mad) rulers. Examining the psyche—and psychoses—of the likes of Richard III, Macbeth, Lear, and Coriolanus, Greenblatt illuminates the ways in which William Shakespeare delved into the lust for absolute power and the disasters visited upon the societies over which these characters rule. Tyrant shows that Shakespeare’s work remains vitally relevant today, not least in its probing of the unquenchable, narcissistic appetites of demagogues and the self-destructive willingness of collaborators who indulge their appetites.
An award-winning scholar and teacher explores how Shakespeare's greatest characters were built on a learned sense of empathy While exploring Shakespeare's plays with her students, Paula Marantz Cohen discovered that teaching and discussing his plays unlocked a surprising sense of compassion in the classroom. In this short and illuminating book, she shows how Shakespeare's genius lay with his ability to arouse empathy, even when his characters exist in alien contexts and behave in reprehensible ways. Cohen takes her readers through a selection of Shakespeare's most famous plays, including Hamlet, Othello, King Lear, and The Merchant of Venice, to demonstrate the ways in which Shakespeare thought deeply and clearly about how we treat "the other." Cohen argues that only through close reading of Shakespeare can we fully appreciate his empathetic response to race, class, gender, and age. Wise, eloquent, and thoughtful, this book is a forceful argument for literature's power to champion what is best in us.
This volume, first published in 2000, draws together thirteen important essays on the concept of race in Shakespeare's drama.
Explores the drama of proximity and co-presence in Shakespeare's playsKey FeaturesBrings together the rare pairing of philosophical ethics and performance studies in Shakespeare's playsEngages with the thought of philosophers including Ludwig Wittgenstein, Hannah Arendt, Paul Ricoeur, Stanley Cavell, and Emmanuel LevinasThis book celebrates the theatrical excitement and philosophical meanings of human interaction in Shakespeare. On stage and in life, the face is always window and mirror, representation and presence. It examines the emotional and ethical surplus that appears between faces in the activity and performance of human encounter on stage. By transitioning from face as noun to verb - to face, outface, interface, efface, deface, sur-face - chapters reveal how Shakespeare's plays discover conflict, betrayal and deception as well as love, trust and forgiveness between faces and the bodies that bear them.
Shakespeare and Faulkner explores the moral and ethical dilemmas that characters face inside themselves and in their interactions with others in the works of these two famed authors. Karl F. Zender’s characterological study offers insightful, critically rigorous, and at times quite personal analyses of the complicated figures who inhabit several major Shakespeare plays and Faulkner novels. The two parts of this book—the first of which focuses on the English playwright, the second on the Mississippi novelist—share a common methodology in that they originate in Zender’s history as a teacher of and writer on the two authors, who until now he generally approached separately. He emphasizes the evolving insights gleaned from reading these authors over several decades, situating their texts in relation to shifting trends in criticism and highlighting the contemporary relevance of their works. The final chapter, an extended discussion of Faulkner’s Intruder in the Dust, attempts something unusual in Zender’s critical practice: It relies less on the close textual analysis that characterizes his previous work and instead explores the intersections between events depicted in the novel and his own life, both as a child and as an adult. Shakespeare and Faulkner speaks to the power of literature as a form of pleasure and of solace. With this work of engaged and thoughtful scholarly criticism, Zender reveals the centrality of storytelling to human beings’ efforts to make sense both of their journey through life and of the circumstances in which they live.
The thirteen interrelated stories of Shakespeare's Kitchen concern the universal longing for friendship, how we achieve new intimacies for ourselves, and how slowly, inexplicably, we lose them. Featuring six never-before-published pieces, Lore Segal's stunning new book evolved from seven short stories that originally appeared in the New Yorker (including the O. Henry Prize–;winning “The Reverse Bug”). Ilka Weisz has accepted a teaching position at the Concordance Institute, a think tank in Connecticut, reluctantly leaving her New York circle of friends. After the comedy of her struggle to meet new people, Ilka comes to embrace, and be embraced by, a new set of acquaintances, including the institute's director, Leslie Shakespeare, and his wife, Eliza. Through a series of memorable dinner parties, picnics, and Sunday brunches, Segal evokes the subtle drama and humor of the outsider's loneliness, the comfort and charm of familiar companionship, the bliss of being in love, and the strangeness of our behavior in the face of other people's deaths. A magnificent and deeply moving work, Shakespeare's Kitchen marks the long-awaited return of a writer at the height of her powers.