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How are unwarranted dislikes and prejudices portrayed in the works of Shakespeare and to what extent does Shakespeare differ from his contemporaries in their portrayal? What can we learn about Shakespeare's times and our own through a close reading of prejudice depicted in his plays? In this study, B. J. Sokol examines what King Edward in Henry VI Part III calls 'your scorns and mislike' (4.1.23) – the unfounded prejudices depicted in Shakespeare's works and targeted at five distinct areas: education, the arts, peace, 'strangers' or outsiders and sexual love. Through a close reading of his plays, comparison with the works of other Elizabethan writers and a consideration of Shakespeare's social environment, this study provides a detailed appreciation of Shakespeare's dramatic method and his insights into the psychological motivations behind the prejudices portrayed. Presenting Shakespeare's prejudice against education, Sokol examines numerous representations of pupils, teachers and schooling, focusing on anti-educational prejudices in The Merry Wives of Windsor and in King Henry VI Part 2. The distaste of characters for art is considered alongside Shakespeare's repeated depiction of the destructive downgrading of the arts that erupts during political upheavals, while prejudice against peaceful living is traced in Shakespeare's various portrayals of 'honour'-driven feuding, such as in Romeo and Juliet, and in warrior characters such as Coriolanus. Prejudice against strangers as depicted in plays including Titus Andronicus, Othello and The Merchant of Venice is contrasted with that of plays by his contemporaries, including Christopher Marlowe's The Jew of Malta. A final chapter examines prejudice against sex and the representation of many male and female characters who evade the erotic, subordinate the erotic to power seeking, or regard their own or others' erotic attachments with revulsion.
Examines the manifestations of racism, sexism, and homophobia in the literary works of Shakespeare, Mary Shelley, Joseph Conrad, and Toni Morrison.
"You people ... She was asking for it ... That's so gay ... Don't be a Jew ... My ex-girlfriend is crazy ... You'd be pretty if you lost weight ... You look good ... for your age ... These statements can be offensive to some people, but it is complicated to understand exactly why. It is often difficult to recognize the veiled racism, sexism, ableism, lookism, ageism, and other -isms that hide in our everyday language. From an early age, we learn and normalize many words and phrases that exclude groups of people and reinforce bias and social inequality. Our language expresses attitudes and beliefs that can reveal internalized discrimination, prejudice, and intolerance. Some words and phrases are considered to be offensive, even if we're not trying to be"--
This book is a masterful and engaging exploration of both Shakespeare's works and his age. Concentrating on six recurring prejudices in Shakespeare's plays--such as misogyny, elitism, distrust of effeminacy, and racism--Robert Brustein examines how Shakespeare and his contemporaries treated them. More than simply a thematic study, the book reveals a playwright constantly exploiting and exploring his own personal stances. These prejudices, Brustein finds, are not unchanging; over time they vary in intensity and treatment. Shakespeare is an artist who invariably reflects the predilections of his age and yet almost always manages to transcend them. Brustein considers the whole of Shakespeare's plays, from the early histories to the later romances, though he gives special attention to Hamlet, King Lear, Othello, and The Tempest. Drawing comparisons to plays by Marlowe, Middleton, and Marston, Brustein investigates how Shakespeare's contemporaries were preoccupied with similar themes and how these different artists treated the current prejudices in their own ways. Rather than confining Shakespeare to his age, this book has the wonderful quality of illuminating both what he shared with his time and what is unique about his approach.
The Cambridge Companion to Shakespeare and Race shows teachers and students how and why Shakespeare and race are inseparable. Moving well beyond Othello, the collection invites the reader to understand racialized discourses, rhetoric, and performances in all of Shakespeare's plays, including the comedies and histories. Race is presented through an intersectional approach with chapters that focus on the concepts of sexuality, lineage, nationality, and globalization. The collection helps students to grapple with the unique role performance plays in constructions of race by Shakespeare (and in Shakespearean performances), considering both historical and contemporary actors and directors. The Cambridge Companion to Shakespeare and Race will be the first book that truly frames Shakespeare studies and early modern race studies for a non-specialist, student audience.
The New York Times Best Seller Experience the Star Wars saga reimagined as an Elizabethan drama penned by William Shakespeare himself, complete with authentic meter and verse, and theatrical monologues and dialogue by everyone from Darth Vader to R2D2. Return once more to a galaxy far, far away with this sublime retelling of George Lucas’s epic Star Wars in the style of the immortal Bard of Avon. The saga of a wise (Jedi) knight and an evil (Sith) lord, of a beautiful princess held captive and a young hero coming of age, Star Wars abounds with all the valor and villainy of Shakespeare’s greatest plays. Authentic meter, stage directions, reimagined movie scenes and dialogue, and hidden Easter eggs throughout will entertain and impress fans of Star Wars and Shakespeare alike. Every scene and character from the film appears in the play, along with twenty woodcut-style illustrations that depict an Elizabethan version of the Star Wars galaxy. Zounds! This is the book you’re looking for.
A discussion of inter-racial sexual relations in Anglo-American literature from the English Renaissance to today.
Your silence and attention, worthy friends, That your free spirits may with more pleasing sense Relish the life of this our active scene: To which intent, to calm this murmuring breath, We ring this round with our invoking spells; If that your listning ears be yet prepard To entertain the subject of our play, Lend us your patience. Tis Peter Fabell, a renowned Scholler, Whose fame hath still been hitherto forgot By all the writers of this latter age. In Middle-sex his birth and his abode, Not full seven mile from this great famous City, That, for his fame in sleights and magicke won, Was calde the merry Friend of Emonton. If any here make doubt of such a name, In Edmonton yet fresh unto this day, Fixt in the wall of that old antient Church, His monument remayneth to be seen; His memory yet in the mouths of men, That whilst he lived he could deceive the Devill. Imagine now that whilst he is retirde From Cambridge back unto his native home, Suppose the silent, sable visagde night Casts her black curtain over all the World; And whilst he sleeps within his silent bed, Toiled with the studies of the passed day, The very time and hour wherein that spirit That many years attended his command, And often times twixt Cambridge and that town Had in a minute borne him through the air, By composition twixt the fiend and him, Comes now to claim the Scholler for his due.
Voted America's Best-Loved Novel in PBS's The Great American Read Harper Lee's Pulitzer Prize-winning masterwork of honor and injustice in the deep South—and the heroism of one man in the face of blind and violent hatred One of the most cherished stories of all time, To Kill a Mockingbird has been translated into more than forty languages, sold more than forty million copies worldwide, served as the basis for an enormously popular motion picture, and was voted one of the best novels of the twentieth century by librarians across the country. A gripping, heart-wrenching, and wholly remarkable tale of coming-of-age in a South poisoned by virulent prejudice, it views a world of great beauty and savage inequities through the eyes of a young girl, as her father—a crusading local lawyer—risks everything to defend a black man unjustly accused of a terrible crime.