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Mark Robson

, does not. As Jacques Rancière notes, the Aristotelian distinction between human and animal can only be the result of a rather unlikely forgetting of Plato. In particular, it involves suppressing the passages in the Republic that are all too clear on the animalistic nature of crowds who, at the instigation of an orator, will express pleasure and displeasure. 11 Rancière argues

in The sense of early modern writing
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Shakespeare’s brute part
Richard Wilson

speculate what kind of pedagogue he would have been. 84 If William’s queer Latin lesson is anything to go by, the dramatist’s instruction would have been like that of the eighteenth-century teacher praised by Jacques Rancière in The Ignorant Schoolmaster , who encouraged pupils to ‘get lost’ in their very confusion, rather than cramming them with knowledge and ‘having them repeat it like parrots’, on the

in Free Will
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Shakespeare’s voyage to Greece
Richard Wilson

In place of the absolutist poetics and controlling ego of the self-consecrated Elizabethan penman promulgated by Sidney or Jonson, the distracted absent-mindedness of this ‘poor player’ augurs something far more modern: the potential that Jacques Rancière finds in pensiveness to deconstruct the literary text ‘in favour of an indeterminate expressive logic’; or which

in Free Will
Mark Robson

Minnesota Press, 1978 ). 44 This notion of partage has been central to the recent work of both Jean-Luc Nancy and Jacques Rancière. See, for example, Nancy, The Inoperative Community , trans. P. Connor and others (Minneapolis, Minnesota University Press, 1991 ); La

in The sense of early modern writing
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The echoes of Rome in Julius Caesar
Richard Wilson

ought not walk, Upon a labouring day without the sign Of your profession? [ 1,1,2–5 ] Why do intellectuals make so much of shoemakers? asks Jacques Rancière. The answer he gives in The Philosopher and His Poor is that the shoemaker figures as the archetypal artisan, who because his work never advances beyond mere

in Free Will
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The visual turn in Antony and Cleopatra
Richard Wilson

was thus the fulfilment of what Shakespeare’s Caesar has in mind, and Jacques Rancière describes in The Emancipated Spectator as a Platonist theatre to end theatre : Plato wanted to replace the democratic, ignorant community of theatre with a different … choreographic community where everyone must move in

in Free Will
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Richard Wilson

one of symbolic representation. At the same time, I suggest, Shakespeare’s human comedy ‘bodies forth’ [ Dream, 5,1,14 ] all the twists of presence and representation traced by theorists such as Jacques Rancière. For while an author may rejoice that ‘the free breath of a sacred king’ [ John, 3,1,74 ] has but ‘a little scene, / To monarchize’ [ Richard II, 3

in Free Will
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Sir Thomas More
Mark Robson

–302. 7 See the discussion of this in terms of the work of Jacques Rancière below, pp. 123–4. 8 Shakespeare, Titus Andronicus , ed. E. M. Waith (Oxford: Oxford University Press, 1984 ). 9 It is hard to avoid the

in The sense of early modern writing