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A European education?
David Marquand

elites and sinister, conspiratorial subversives. The latter are forever plotting to do down the former. A case in point is the Leavers’ claim that the only way to keep the United Kingdom out of a federal Europe is to stand aloof from the rest of the continent to which we belong and whose civilisation we have shared since Julius Caesar’s troops landed on the shores of Kent. Is there an alternative? I think there is, but it is not easy to put into practice, or even into words. As a Labour Member of Parliament, my dearest friend was the ebullient, brilliant, courageous

in Making social democrats
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Daniel Cadman, Andrew Duxfield, and Lisa Hopkins

, Hamlet , has become the most famous play and indeed arguably the most famous work of literature of any genre ever to have been written; tragedies of the period which deal with historical figures such as Julius Caesar or Richard III have made definitive contributions to the general perception of those personages. The emotional range of the genre is also astonishing: King Lear so moved Dr Johnson that he could not bear to reread it until he had to edit it, whereas some revenge tragedies contain moments of wild and weird wit or humour which make them funnier than many

in The genres of Renaissance tragedy
Corin Redgrave

. Corin Redgrave is an actor, director and author. Since his debut in 1962 his work has been divided almost evenly between theatre, film and television. He is the author of Michael Redgrave: My Father (RCB, Fourth Estate, 1995) and Julius Caesar and the English Revolution (Faber & Faber, 2002). As a playwright he has written Roy and Daisy (1998), Fool for the Rest of his

in British cinema of the 1950s
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Shakespeare shaping modern movie genres
R. S. White

Poppins into a gay icon. Elizabeth (Jessie Matthews) delivers clothes for a fashion house, yearns to be a singer, but fails an audition. So does aspiring Shakespearean actor Victor (Sonnie Hale), who introduces the first of numerous Shakespearean quotations with a speech from Julius Caesar delivered in a failed audition. A born loser, Victor is offered a part as a female impersonator in a music hall

in Shakespeare’s cinema of love
Vittorio Bufacchi

democracy. Where Clodius and the Gracchi brothers failed, Julius Caesar succeeded: born into a powerful and privileged family, Caesar’s populist appeal was instrumental to undermining the rule of law, culminating in his appointment as ‘dictator for life’. Archibugi and Cellini suggest conceptualizing populism in terms of differences between ‘incumbents’ (elites) and ‘new entrants’ (excluded masses) in the political arena. I think they are right, but only partially. Yes, it is correct to conceptualize populism in terms of incumbents and new entrants, but it is wrong to

in Everything must change
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‘All good letters were layde a slepe’: medieval sleep and early modern heirs
Megan G. Leitch

. S. Brewer, 2003), p. 57; Cooper, Shakespeare and the Medieval World . 11 Claude Fretz, ‘“Full of Ugly Sights, of Ghastly Dreams”: Dreams and Tragedy in Shakespeare’s Richard III’, Cahiers Elizabethiens , 92.1 (2017), 32–49, and ‘“Either His Notion Weakens, or His Discernings | Are Lethargied”: Sleeplessness and Waking Dreams as Tragedy in Julius Caesar and King Lear’ , Etudes Episteme , 30 (2017); Estok, Ecocriticism and Shakespeare ; Totaro, ‘Securing Sleep in Hamlet’; see

in Sleep and its spaces in Middle English literature
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Richard Wilson

tradition of mimesis as semblance, a cagey non-compliance that ironically parallels the famous maxim by the Herberts’ relation Sidney, that poetry is above copying, because ‘the poet, disdaining to be tied to any such subjection … doth grow in effect another nature’. 48 So it is significant that in Julius Caesar , the drama about inauguration we think Shakespeare wrote in 1599 to inaugurate the Globe

in Free Will
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Shakespeare and the supernatural
Victoria Bladen and Yan Brailowsky

supernatural in all of his dramatic genres and throughout his career, from the early histories (such as Richard III and Henry VI, Part II ) to the late romances (such as The Winter’s Tale, Cymbeline and The Tempest ), in tragedies ( Julius Caesar, Hamlet and Macbeth ) and in comedy ( A Midsummer Night’s Dream ), suggesting the importance of the supernatural in his approach to drama. Exploration of this dimension resonates with many of the central themes of the plays, raising theological, political and moral questions. His work invites critical analysis of how

in Shakespeare and the supernatural
From pathos to bathos in early English tragedy; or, the comedy of terrors
Richard Hillman

and fear (ii.95 ff.). It is, then, with a tyrant’s blind arrogance that Guise anticipates (or perhaps echoes 19 ) Julius Caesar in rejecting the caution offered by one of his murderers: Yet Caesar shall go forth. Let mean conceits and baser men fear death: Tut, they are peasants; I

in French origins of English tragedy
Leisure and entertainment
Carey Fleiner

–29). Other events such as wild animal shows (Livy, 39.22; Plaut., Poen. 1008–1013) and mock sea battles soon followed. These were increasingly popular and spectacular throughout the late Republic and into the imperial period beginning with Julius Caesar (cf. App., BC 2.102), and a sea spectacle by Claudius involved draining a lake (Tac., Ann . 12.56). Cultural activities such as literary composition and reading, musical events, and theatrical performances also coincided with the influx of Greek culture and activities from the third century BCE onwards

in A writer’s guide to Ancient Rome