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Hamlet, adaptation and the work of following
John J. Joughin

situate and contest existing contemporary cultural norms concerning truth, value and meaning it follows that, just as Shakespeare becomes aesthetical, he becomes political and contentious too. So that as Margreta de Grazia observes, the playwright’s work is central to: the neo-classical critical tradition of determining Beauties and Faults, an exercise that required and refined the generally interchangeable faculties of Taste, Judgement and Reason. Analysis of an author’s Beauties and Faults (Excellencies and Blemishes) involved major critical issues, the rivalry

in The new aestheticism
James Paz

For a lively re-​examination of anthropomorphism, see also Lorraine Daston and Greg Mitman (eds), Thinking with Animals:  New Perspectives on Anthropomorphism (New  York:  Columbia University Press, 2005). 3 See especially Bennett, Vibrant Matter. 4 I draw upon Hodder, Entangled, pp.  4–​ 5. Cf. Gilles Deleuze and Félix Guattari, A Thousand Plateaus, trans. B. Massumi (London: Continuum, 2004). 5 See, for example, Margreta De Grazia, Maureen Quilligan and Peter Stallybrass (eds), Subject and Object in Renaissance Culture (Cambridge:  Cambridge University Press

in Nonhuman voices in Anglo-Saxon literature and material culture