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Shakespearean Genealogies of Power proposes a new view on Shakespeare’s involvement with the legal sphere: as a visible space between the spheres of politics and law and well able to negotiate legal and political, even constitutional concerns, Shakespeare’s theatre opened up a new perspective on normativity. His plays reflect, even create, "history" in a new sense on the premises of the older conceptions of historical and legal exemplarity: examples, cases, and instances are to be reflected rather than treated as straightforwardly didactic or salvific. Thus, what comes to be recognized, reflected and acknowledged has a disowning, alienating effect, whose enduring aftermath rather than its theatrical immediacy counts and remains effective. In Shakespeare, the law gets hold of its normativity as the problematic efficacy of unsolved – or rarely ever completely solved – problems: on the stage of the theatre, the law has to cope with a mortgage of history rather than with its own success story. The exemplary interplay of critical cultural and legal theory in the twentieth-century – between Carl Schmitt and Hans Kelsen, Walter Benjamin and Ernst Kantorowicz, Hans Blumenberg and Giorgio Agamben, Robert Cover and Niklas Luhmann – found in Shakespeare’s plays its speculative instruments.
Vol 1 905p Vol 2 961p.
"Shakespeare's Family" by C. C. Stopes is an enthralling exploration of the personal life of the iconic playwright, William Shakespeare. Through meticulous research and captivating anecdotes, Stopes brings the Bard's family members to life, offering readers an intimate understanding of the man behind the timeless literary works. This ebook delves into the complex dynamics and emotions that influenced Shakespeare's creative genius, shedding new light on his life and legacy. It is an essential read for Shakespeare enthusiasts and literary scholars, allowing them to forge a deeper connection with the celebrated playwright and his profound impact on literature.
A unique, full-color, fully illustrated, 17-foot-long, double-sided format traces the genealogies of the more than 1,000 characters mentioned in all 42 of William Shakespeare's plays and dramatic poems. It begins with Shakespeare's own family tree and proceeds into plot outlines and charts organized by category of play -- from those set in ancient times to the British history plays. Its thorough and inventive scholarship makes it a must-have for any serious student of Shakespeare, as well as those who want to gain a greater appreciation and enjoyment of his timeless dramatic works. The more than 100 full-color and black-and-white images include paintings, sculptures, manuscripts, and photographs from famous productions. In slipcase.
A must-have for any serious student of Shakespeare, this full-color, illustrated, 17-foot long, fold-out volume traces the genealogies of the more than 1,000 characters mentioned in all 39 of the Bards plays.
Shakespearean Genealogies of Power proposes a new view on Shakespeare’s involvement with the legal sphere: as a visible space between the spheres of politics and law and well able to negotiate legal and political, even constitutional concerns, Shakespeare’s theatre opened up a new perspective on normativity. His plays reflect, even create, "history" in a new sense on the premises of the older conceptions of historical and legal exemplarity: examples, cases, and instances are to be reflected rather than treated as straightforwardly didactic or salvific. Thus, what comes to be recognized, reflected and acknowledged has a disowning, alienating effect, whose enduring aftermath rather than its theatrical immediacy counts and remains effective. In Shakespeare, the law gets hold of its normativity as the problematic efficacy of unsolved – or rarely ever completely solved – problems: on the stage of the theatre, the law has to cope with a mortgage of history rather than with its own success story. The exemplary interplay of critical cultural and legal theory in the twentieth-century – between Carl Schmitt and Hans Kelsen, Walter Benjamin and Ernst Kantorowicz, Hans Blumenberg and Giorgio Agamben, Robert Cover and Niklas Luhmann – found in Shakespeare’s plays its speculative instruments.
Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.