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. 2 Wotton, The Elements of Architecture , p. 4. 3 Harris, Untimely Matter , pp. 16–20. 4 See Jonathan Dollimore, ‘Introduction: Shakespeare, Cultural Materialism and New Historicism’, in
Minnesota Press, 1978) and Alan Sinfield, ‘Protestantism: Questions of Subjectivity and Control’ in Faultlines: Cultural Materialism and the Politics of Dissident Reading (Oxford: Clarendon Press, 1992). 27 These beliefs may be referred to as either ‘Melanchthonian’ or ‘Philippist’. 28 Stillman, ‘Deadly Stinging Adders’, pp. 247–8. Famously, Sidney was sent as an ambassador to the imperial court to communicate Elizabeth’s condolences to Maximilian’s son and heir, Rudolf II (see H. R. Woudhuysen, ‘Sidney, Sir Philip (1554–1586)’, in Oxford Dictionary of
humanist thought’), 22 and ‘New Historicism’ and ‘Cultural Materialism’. The latter has close connections with ‘New Historicism’ in ‘its intellectual origins, and its explicit concern with power and its cultural representations’, but has, according to Hebron, ‘a more explicit and self-conscious political engagement, mixing French theoretical language with British polemical traditions of non-conformity and class-struggle’. 23 ‘New
single line cut. He would direct every line Shakespeare wrote – even ones the Oxford editor Stanley Wells thought Shakespeare himself might have ‘tightened up in rehearsal’ (Wells 1989 , 176). Next, he would ignore the ‘alarums and excursions’ that had been convulsing academic Shakespeare scholarship over the previous fifteen years via the discourses of French theory, American New Historicism and British Cultural Materialism (including anything any of the theorists had to say about Antony and Cleopatra ) and instead situate his production inside a ‘traditional
settles on the Second Helvetic Confession (1566), which was adopted by the Swiss Reformed churches, as one of the bases for his ‘discussion of the religious ideas that shaped the way Sidney saw his world’. 5 Alan Sinfield, in Faultlines: Cultural Materialism and the Politics of Dissident Reading , asserts that Sidney ‘belonged to the puritan party’. 6 He uses ‘puritan’ ‘to mean those committed to the zealous maintenance and furtherance of the Elizabethan protestant settlement’, which, in Sinfield’s view, did not ‘involve a distinctive doctrinal perspective’, as
to linear patterns on the one hand, or to the domesticated post-structuralist practice of ‘allowing a free interplay among texts, including the texts of historical reality (sometimes distinguished as “contexts”)’ 72 on the other. Hillman invokes Jean Howard’s odd conflation of New Historicism and Cultural Materialism as critical tendencies that seek ‘virtually to strip literary works of textuality by positing “a hierarchical relationship in which literature figures as a parasitical reflector of historical fact”’. 73 This
thereby anticipating the critical practice of demythologisation that was shortly to become a central tenet of British cultural materialism. Jones’s objective was twofold: to establish a pre-history in the early sixteenth century that might challenge the claimed unhelpfulness of literary historians; and to counter ‘the desire to impose manageable period-divisions [that] has put more stress on superficial discontinuity’ – an emergent radical critical manoeuvre – ‘than continuity at a deeper level’. 78 Following on from T
. 138. 79 Ibid. , p. 178. 80 Mullaney, The Reformation of Emotions , p. 41. 81 See Alan Sinfield, Faultlines: Cultural Materialism and the Politics of Dissident Reading (Los Angeles and Oxford, 1992), pp. 46ff. ‘When a part of our worldview threatens disruption by manifestly failing to cohere with the rest, then we reorganise and retell its story, trying to get it into shape – back into the old shape if we are conservative
About Nothing , ed. Claire McEachern, Arden 3 series (London, 2006). 36 Kristeva, Revolution in Poetic Language , p. 57. 37 Alan Sinfield, Faultlines: Cultural Materialism and the Politics of Dissident Reading (Los Angeles and Oxford, 1929), p. 47. 38 Ibid. , p. 49. 39 Kristeva, Revolution in Poetic Language , pp. 57–8. 40 For a fuller discussion of the
, aimless, disconnected and alienated – but also suffused with libido and creative of some of the most remarkable insights, poetry and dramatic moments of these great plays’. 24 While cultural materialism and new historicism have offered us the reductive functionalism of an ‘automaton-like’ subject determined by an Althusserian or Foucauldian matrix of ideology and power, Grady