Search results

You are looking at 1 - 3 of 3 items for :

  • "Margreta De Grazia" x
  • Refine by access: Open access content x
Clear All
‘Postcolonial’ as periodizer
Andrew Sartori

entire chapter to the field: Rochona Majumdar, Writing Postcolonial History (London: Bloomsbury, 2010), chapter 4. 41 Ananya Jahanara Kabir and Deanne Williams, ‘Introduction: A Return to Wonder’, in Ananya Jahanara Kabir and Deanne Williams (eds), Postcolonial Approaches to the European Middle Ages: Translating Cultures (Cambridge: Cambridge University Press, 2005), p. 1; Margreta de Grazia, ‘The Modern Divide: From Either Side’, Journal of Medieval and Early Modern Studies , 37

in Post-everything
Open Access (free)
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