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Pascale Drouet

Bolingbroke and Coriolanus each set in motion a ‘war machine’ with the respective results that have been pointed out. Other characters, also victims of abusive banishment, do not take part in such a dynamic of riposte; rather, they find another way of expressing their feelings of injustice, trying to sublimate their temptation to be revenged. Sometimes violence does erupt, but it is channelled away

in Shakespeare and the denial of territory
Pascale Drouet

Bolingbroke’s and Coriolanus’ respective illegal returns are effective because they come with armed forces that are unexpected and, as such, convey the impression of having what Deleuze and Guattari, in their ‘Treatise on Nomadology’, term a ‘war machine’. In A Thousand Plateaus , they explore several oppositions, such as ‘smooth space’ versus ‘striated space’, ‘game of

in Shakespeare and the denial of territory
Anne Sweeney

status and affiliations may have alienated his father, and other Englishmen like him. 8 After all, Southwell’s letter to his father is, in asking him to restore himself in the faith, requiring him to become a hostage to a now vengeful English State. Part of his war of words was in this fraught personal arena, therefore; his letter and the several poems that seem to echo its sentiments suggest that he is

in Robert Southwell
Abstract only

If honour and principle were the watchwords for Caesars of the nineteenth century, and totalitarianism the core of twentieth, the word which ghosts twenty-first-century productions most clearly is 'spin'. This book traces this evolutionary journey, and discusses productions because they somehow speak to ideas about the play which characterise their period of production, or they have significant features in their own right. It first gives an account of productions of the play prior to the Second World War, right from the stagings at the Globe Theatre's in 1599 to William Bridges-Adams's productions till 1934. The 1937 Orson Welles's production of Julius Caesar, staged at New York's Mercury Theatre was decked out with all the trappings and scenic theatricality of contemporary European Fascism. Shakespeare's play becomes a forum for a consideration of an ethics of American identity with John Houseman's 1953 film. The book discusses three modernist productions of Lindsay Anderson, John Barton and Trevor Nunn, and the new versions of the play for the British TV. The productions under Thatcher's Britain are also focused as well as the unknown accents, especially the Indian and African ones. The productions of Italy, Austria and Germany productions have eschewed direct political association with past or present regimes. The book also presents a detailed study of two productions by a single company, Georgia Shakespeare. In the new millennium, the play's back-and-forth exchange between its long past and the shrill and vibrant insistence of its present, have taken centre stage.

Abstract only
John Drakakis

, at least, Shakespeare’s own meaning is the greatest of meanings and it is one the world needs’. 37 The theoretical constraint that he imposes on meaning here is disquieting, although the context of this statement is the aftermath of the Second World War and its devastation that Tillyard, writing in the early years of the war, could attribute to the disregard of an earlier cultural formation: we shall err grievously if we do not take that seriousness into account or if we imagine that the

in Shakespeare’s resources
Abstract only
The elephant in the graveyard
John Drakakis

. Miola’s invocation of the Star Wars films to point up a series of cinematographic memes that can be traced back to an earlier film genre, the Western, points to the transmission and transmigration of a popular, non-literary tradition. That some of the original Westerns were based upon novels indicates in part the means whereby a new technology, film, accommodates itself (possibly with a knowing sense of irony) to existing narrative forms. Some of the examples are extreme to the point of ludicrousness, as in the case of early

in Shakespeare’s resources
Theatre, form, meme and reciprocity
John Drakakis

proud swelling state’ (4.3.140–54), Lake speculates: If we take this to be a statement of the likely consequences of the death of Mary Stuart, then it becomes for the audiences of the 1590s a comment on their current war-torn state, surrounded by enemies, subject to the threat of invasion from abroad and of sedition, division, and rebellion at home. When we add the further fact of John’s (and, of course, Elizabeth’s) excommunication and deposition by the pope, and their confrontation by the threat

in Shakespeare’s resources
Abstract only
John Drakakis

process the originary structure ossifies the dynamic role of the ‘first reader’ as a historical producer of dramatic writing. In this connection Derrida goes on to make an important observation: We would search the ‘public’ in vain for the first reader: i.e. the first author of a work. And the ‘sociology of literature’ is blind to the war and the ruses perpetuated by the author who reads and by the first reader who dictates, for at stake here is the origin of the work itself. The sociality of

in Shakespeare’s resources
John Drakakis

change in both audience composition and audience tastes: I’ faith, my lord, novelty carries it away. For the principal public audience that came to them are turned to private plays, and to the humour of children. (7.271–3) 9 Thompson and Taylor explain the inclusion in Q1 of the reference as a consequence of the so-called ‘war of the theatres’ that was current in 1600 but no longer topical in 1604–5 when Q2 was printed; or that with the transfer of patronage of the

in Shakespeare’s resources
John Drakakis

circumstance / Horribly stuffed with epithets of war’ ( Othello , 1.1.12–13): Mislike me not for my complexion, The shadowed livery of the burnished sun, To whom I am neighbour and near bred. Bring me the fairest creature northward born, Where Phoebus’ fire scarce thaws the icicles, And let us make incision for your love, To prove whose blood is reddest, his or mine. I tell thee lady, this aspect of mine Hath feared the valiant; by my love I

in Shakespeare’s resources