A SCHOLARLY BOOK REPOSITORY
Brayton Polka takes both a textual and theoretical approach to seven plays of Shakespeare: Macbeth, Othello, Twelfth Night, All’s Well That Ends Well, Julius Caesar, Troilus and Cressida, and Hamlet. He calls upon the Bible and the ideas of major European thinkers, above all, Kierkegaard and Spinoza, to argue that the concept of interpretation that underlies both Shakespeare’s plays and our own lives as moderns is the golden rule of the Bible: the command to love your neighbor as yourself. What you will (the alternative title of Twelfth Night ) thus captures the idea that interpretation is the very act by which we constitute our lives. For it is only in willing what others will—in loving relationships—that we enact a concept of interpretation that is adequate to our lives.
Polka argues that it is the aim of Shakespeare, when representing the ancient world in plays like Julius Caesar and Troilus and Cressida, and also in his long narrative poem “The Rape of Lucrece,” to dramatize the fundamental differences between ancient (pagan) values and modern (biblical) values or between what he articulates as contradiction and paradox. The ancients are fatally destroyed by the contradictions of their lives of which they remain ignorant. In contrast, we moderns in the biblical tradition, like those who figure in Shakespeare’s other works, are responsible for addressing and overcoming the contradictions of our lives through living the interpretive paradox of “what you will,” of treating all human beings as our neighbor. Shakespeare’s comedies and tragedies, notwithstanding their dramatically different form, share this interpretive framework of paradox. As the author shows in his book, texts without interpretation are blind and interpretation without texts is empty.
Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
What is ambition, and what are its consequences, in Shakespearean drama? This compelling interpretation of eight major plays reveals a Shakespeare who understands ambition as a doomed but necessary struggle against the limitations of the inherited self. Through vivid new readings of such crucial moments as Henry V's rejection of Falstaff, Macbeth's defeat by the advancing Birnam Wood, and Coriolanus' crisis at the gates of Rome, Robert Watson delineates a pattern of poetic justice whereby characters who disdain their places in nature's system forfeit the benefits that nature normally offers. Watson also amends the insights of psychoanalytic critics by demonstrating that Shakespeare uses Oedipal impulses and unnatural births as metaphors for the forbidden act of remaking the self: conceiving a new identity entails a symbolically incestuous defiance of the father's authority.
By tracing the evolution of this Shakespearean myth of ambition and exploring its analogues in many less familiar Renaissance texts, Watson illuminates the ethical perspective of the playwright and provides a bold new approach to the sexual symbolism of the plays. The persistence of the mythic pattern across different types of play (history, tragedy, and romance) and different modes of aspiration (political, martial, and spiritual) indicates that Shakespeare perceives ambition as a moral and dramatic problem in its own right, with its own special properties and its own weighty ambiguities.
The book’s opening essays offer perspectives on law and literature that emphasize both the continuities and contrasts between the two fields. The second section considers Shakespeare’s awareness of common law thinking and common law practice, while the third inquires into Shakespeare’s general attitudes toward legal systems. The fourth part of the book looks at how law enters into conversation with issues of politics and community, whether in the plays, in Shakespeare’s world, or in our own world. Finally, a colloquy among Supreme Court Justice Stephen Breyer, Judge Richard Posner, Martha C. Nussbaum, and Richard Strier covers everything from the ghost in Hamlet to the nature of judicial discretion.
How do we recapture, or hold on to, the live performances we most love, and the talented artists and performers we most revere? Shakespeare and the Legacy of Loss tells the story of how 18th-century actors, novelists, and artists, key among them David Garrick, struggled with these questions through their reenactments of Shakespearean plays. For these artists, the resurgence of Shakespeare, a playwright whose works just decades earlier had nearly been erased, represented their own chance for eternal life. Despite the ephemeral nature of performance, Garrick and company would find a way to make Shakespeare, and through him the actor, rise again.
In chapters featuring Othello, Richard III, Hamlet, The Winter’s Tale, and The Merchant of Venice, Emily Hodgson Anderson illuminates how Garrick’s performances of Shakespeare came to offer his contemporaries an alternative and even an antidote to the commemoration associated with the monument, the portrait, and the printed text. The first account to read 18th-century visual and textual references to Shakespeare alongside the performance history of his plays, this innovative study sheds new light on how we experience performance, and why we gravitate toward an art, and artists, we know will disappear.
After addressing critical issues about love, biology, and culture raised by his method, Nordlund considers four specific forms of love in seven of Shakespeare’s plays. Examining the vicissitudes of parental love in Titus Andronicus and Coriolanus, he argues that Shakespeare makes a sustained inquiry into the impact of culture and society upon the natural human affections. King Lear offers insight into the conflicted relationship between love and duty. In two problem plays about romantic love, Troilus and Cressida and All’s Well that Ends Well, the tension between individual idiosyncrasies and social consensus becomes especially salient. And finally, in Othello and The Winter’s Tale, Nordlund asks what Shakespeare can tell us about the dark avatar of jealousy.
"Norman Rabkin's new book is a very different kind of good book. Elegantly spare, sharp, undogmatic. . . . The relationship between the perception of unity and the perception of artistic achievement is a basic conundrum, and it is one that Mr. Rabkin has courageously placed at the center of his discussion." –G. K. Hunter, Sewanee Review
"Rabkin's book is brilliant, taut, concise, beautifully argued, and sensitively responsive to the individuality of particular Shakespeare plays." –Anne Barton, New York Review of Books
Should we draw an analogy between Shakespeare’s tyrants—Richard III, Julius Caesar, Macbeth, and King Lear—and Donald Trump? In Shakespeare and Trump, Jeffrey Wilson applies literary criticism to real life, examining plot, character, villainy, soliloquy, tragedy, myth, and metaphor to identify the formal features of the Trump phenomenon, and its hidden causes, structure, and meanings.
Wilsonapproaches his comparison prismatically. He first considers two high-concept (read: far-fetched) Shakespeare adaptations penned by Trump’s former chief political strategist Steve Bannon. He looks at University of Pennsylvania students protesting Trump by taking down a monument to Shakespeare. He reads Trump’s first 100 days in office against Netflix’s House of Cards. Wilson also addresses the summer 2017 Shakespeare in the Park production of Julius Caesar wherein an assassination of a Trump-ian leader caused corporations to withdraw sponsorship.
These stories reveal a surprising—and bizarre—relationship between the provincial English playwright and the billionaire President of the United States, ostensibly a medieval king living in a modern world. The comparison reveals a politics that blends villainy and comedy en route to tragedy.
Samuel Crowl’s Shakespeare at the Cineplex: The Kenneth Branagh Era is the first thorough exploration of the fifteen major Shakespeare films released since the surprising success of Kenneth Branagh’s Henry V (1989). Crowl presents the rich variety of these films in the “long decade: between the fall of the Berlin Wall and the terrorist attacks on September 11, 2001.” The productions range from Hollywood-saturated films such as Franco Zeffirelli’s Hamlet and Michael Hoffman’s A Midsummer Night’s Dream to more modest, experimental offerings, such as Christine Edzard’s As You Like It. Now available in paperback, Shakespeare at the Cineplex will be welcome reading for fans, students, and scholars of Shakespeare in performance.
Originally published in cloth in 2001, the paperback includes a new foreword that will inspire all teachers who work with students others have deemed unteachable. A new afterword updates readers on the prison art's program -- and the author herself -- since 2001.
Reflecting on how, why, and to what effect knowledges and styles of performance pollinate across cultures, Tatlow demonstrates that the employment of one culture’s material in the context of another defamiliarizes the conventions of representation in an act that facilitates access to what previously had been culturally repressed. By reading the intercultural, Tatlow shows, we are able not only to historicize the effects of those repressions that create a social unconscious but also gain access to what might otherwise have remained invisible.
This remarkable study will interest students of cultural interaction and aesthetics, as well as readers interested in theater, Shakespeare, Brecht, China, and Japan.
Focusing on five works (Romeo and Juliet, Macbeth, Pericles, Cymbeline, and The Winter’s Tale), Lupton remakes the concept of dwelling by drawing on a variety of sources, including modern design theory, Renaissance treatises on husbandry and housekeeping, and the philosophies of Hannah Arendt and Martin Heidegger. The resulting synthesis not only offers a new entry point into the contemporary study of environments; it also shows how Shakespeare’s works help us continue to make sense of our primal creaturely need for shelter.
How can you turn an English department into a revenue center? How do you grade students if they are "customers" you must please? How do you keep industry from dictating a university's research agenda? What happens when the life of the mind meets the bottom line? Wry and insightful, Shakespeare, Einstein, and the Bottom Line takes us on a cross-country tour of the most powerful trend in academic life today--the rise of business values and the belief that efficiency, immediate practical usefulness, and marketplace triumph are the best measures of a university's success.
With a shrewd eye for the telling example, David Kirp relates stories of marketing incursions into places as diverse as New York University's philosophy department and the University of Virginia's business school, the high-minded University of Chicago and for-profit DeVry University. He describes how universities "brand" themselves for greater appeal in the competition for top students; how academic super-stars are wooed at outsized salaries to boost an institution's visibility and prestige; how taxpayer-supported academic research gets turned into profitable patents and ideas get sold to the highest bidder; and how the liberal arts shrink under the pressure to be self-supporting.
Far from doctrinaire, Kirp believes there's a place for the market--but the market must be kept in its place. While skewering Philistinism, he admires the entrepreneurial energy that has invigorated academe's dreary precincts. And finally, he issues a challenge to those who decry the ascent of market values: given the plight of higher education, what is the alternative?
Combining feminist and historical approaches with attention to the "matter" of language as well as of race and gender, Parker's brilliant "edification from the margins" illuminates much that has been overlooked, both in Shakespeare and in early modern culture. This book, a reexamination of popular and less familiar texts, will be indispensable to all students of Shakespeare and the early modern period.
Crowl’s study demonstrates the surprising resonances between Roman Polanski's 1971 film of Macbeth and Adrian Noble's heralded recent production of the play for The Royal Shakespeare Company; argues that Orson Welles's films of Othello and Cabins at Midnight are not only brilliant remaining of Shakespeare in another art form but make a powerful contribution to our contemporary understanding of performance as interpretation; and chronicles the impact of Peter Hall's creation of the Royal Shakespeare Company in 1960 on performance approaches to Shakespeare in the past thirty years.
Shakespeare Observed provides full interpretative readings of key recent Shakespeare productions in England and includes an intimate behind-the-scenes glimpse into the rehearsal process which produced Ron Daniels's emotionally charged version of Romeo and Juliet for the RSC in 1980. The final chapter uses Kenneth Branagh's highly successful film of Henry V as a summary example of the trends and influences Crowl's study traces, seeing the film as gathering its interpretative energies from both Olivier's famous film version of the play and Adrian Noble's stage production featuring Branagh as the king.
Written in a style which places a premium on capturing the vivid and often dazzling moments of stage and film performances of Shakespeare, Crowl's study will be of interest to the avid film and theatergoer as well as to the scholar and student. Shakespeare Observed joins a growing list of recent critical works which have significantly expanded and redefined the boundaries of Shakespeare studies in our time.
This volume includes essays on five plays, Romeo and Juliet, Anthony and Cleopatra, Measure for Measure, Troilus and Cressida, and The Winter's Tale, and within these Bloom meditates on Shakespeare's work as a whole. He also draws on his formidable knowledge of Plato, Rousseau, and others to bring both ancients and moderns into the conversation. The result is a truly synoptic treatment of eros—not only a philosophical reflection on Shakespeare, but a survey of the human spirit and its tendency to seek what Bloom calls the "connectedness" of love and friendship.
These highly original interpretations of the plays convey a deep respect for their author and a deep conviction that we still have much to learn from him. In Bloom's view, we live in a love-impoverished age; he asks us to turn once more to Shakespeare because the playwright gives us a rich version of what is permanent in human nature without sharing our contemporary assumptions about erotic love.
"Provocative and illuminating." —Michiko Kakutani, New York Times
"A brilliant analysis of the erotic ugliness and the balancing erotic grace of The Winter's Tale . . . and Bloom makes more sense of [Measure for Measure] than anyone else I have read." —A. S. Byatt, Washington Post Book World
At his death in 1992, Allan Bloom was the John U. Nef Distinguished Service Professor in the Committee on Social Thought at the University of Chicago. He is the author of several books, including Shakespeare's Politics (with Harry V. Jaffa) and The Closing of the American Mind.
The professional Yiddish theatre started in 1876 in Eastern Europe; with the assassination of Tsar Alexander II in 1881, masses of Eastern European Jews began moving westward, and New York—Manhattan’s Bowery and Second Avenue—soon became the world’s center of Yiddish theatre. At first the Yiddish repertoire revolved around comedies, operettas, and melodramas, but by the early 1890s America's Yiddish actors were wild about Shakespeare. In Shakespeare on the American Yiddish Stage, Joel Berkowitz knowledgeably and intelligently constructs the history of this unique theatrical culture.
The Jewish King Lear of 1892 was a sensation. The year 1893 saw the beginning of a bevy of Yiddish versions of Hamlet; that year also saw the first Yiddish production of Othello. Romeo and Juliet inspired a wide variety of treatments. The Merchant of Venice was the first Shakespeare play published in Yiddish, and Jacob Adler received rave reviews as Shylock on Broadway in both 1903 and 1905. Berkowitz focuses on these five plays in his five chapters. His introduction provides an orientation to the Yiddish theatre district in New York as well as the larger picture of Shakespearean production and the American theatre scene, and his conclusion summarizes the significance of Shakespeare’s plays in Yiddish culture.
Despite the obvious differences between our theater and Shakespeare's, sixteenth-century testimony suggests that the experience of acting has not changed much over the centuries. Beginning with a psychoanalytically informed account of acting today, Skura shows how this intense and ambivalent experience appears not only in literal references to acting in Shakespearean drama but also in recurring narrative concerns, details of language, and dramatic strategies used to engage the audience. Looking at the plays in the context of both public and private worlds outside the theater, Skura rereads the canon to identify new configurations in the plays and new ways of understanding theatrical self-consciousness in Renaissance England. Rich in theatrical, psychoanalytic, biographical, and historical insight, this book will be invaluable to students of Shakespeare and instructive to all readers interested in the dynamics of performance.
In Shakespeare the Illusionist, Neil Forsyth reviews the history of Shakespeare’s plays on film, using the basic distinction in film tradition between what is owed to Méliès and what to the Lumière brothers. He then tightens his focus on those plays that include some explicit magical or supernatural elements—Puck and the fairies, ghosts and witches, or Prospero’s island, for example—and sets out methodically, but with an easy touch, to review all the films that have adapted those comedies and dramas, into the present day.
Forsyth’s aim is not to offer yet another answer as to whether Shakespeare would have written for the screen if he were alive today, but rather to assess what various filmmakers and TV directors have in fact made of the spells, haunts, and apparitions in his plays. From analyzing early camera tricks to assessing contemporary handling of the supernatural, Forsyth reads Shakespeare films for how they use the techniques of moviemaking to address questions of illusion and dramatic influence. In doing so, he presents a bold step forward in Shakespeare and film studies, and his fresh take is presented in lively, accessible language that makes the book ideal for classroom use.
Shakespeare without Boundaries: Essays in Honor of Dieter Mehl offers a wide-ranging collection of essays written by an international team of distinguished scholars who attempt to define, to challenge, and to erode boundaries that currently inhibit understanding of Shakespeare, and to exemplify how approaches that defy traditional bounds of study and criticism may enhance understanding and enjoyment of a dramatist who acknowledged no boundaries in art.
The Volume is published in tribute to Professor Dieter Mehl, whose critical and scholarly work on authors from Chaucer through Shakespeare to D. H. Lawrence has transcended temporal and national boundaries in its range and scope, and who, as Ann Jennalie Cook writes, has contributed significantly to the erasure of political boundaries that have endangered the unity of German literary scholarship and, more broadly, through his work for the International Shakespeare Association, to the globalization of Shakespeare studies.
Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
In the title essay of this volume, Harbage admonishes the critics and directors whose modern--and often perverse--presentations of Shakespeare attempt to locate him in the theatre of the absurd. According to the author, such critics are using the actions of the plays but ignoring the words; his concern is that the plays be read and responded to as whole works of art.
Thus the groundwork is laid for this outstanding collection of essays and lectures--most of them previously presented in various publications over the past two or three decades and all characterized by Harbage's urbanity, wit, and good sense. Devoted to the debate of critical issues involving Shakespeare and his fellow dramatists, the first eight essays, described by the author as "pleas for sanity," include such pieces as "Marlowe Disinterred," prompted by a book nominating Marlowe as the author of Shakespeare's plays; "Cosmic Card Game," a parody of the New Criticism; and "Shakespeare and the Professions," where one section details Shakespeare's opinion of the various professions as they are represented by characters in the plays--parsons, teachers, lawyers, and doctors.
The last part of the book is composed of four essays relating to the history of the Elizabethan drama and raising provocative questions of chronology and authorship. These articles likewise deal with structural problems and suggest new directions for research.
A Shakespearean Botanical follows in the tradition of the medieval and Renaissance herbal, touring the Bard’s remarkable knowledge of the fruits, vegetables, herbs, and flowers of Tudor and Jacobean England through fifty quotations from his plays and verse poems. Each of the entries is beautifully illustrated with hand-colored renderings from the work of Shakespeare’s contemporary, herbalist John Gerard, making an appropriate pairing with his writing, along with a brief text setting the quotation within the context of the medicine, cooking, and gardening of the time.
The book’s many beautifully reproduced images are a pleasure to look at, and Margaret Willes’s well-chosen quotations and expert knowledge of Shakespeare’s England provide readers with a fascinating insight into daily life. The book will make an inspiring addition to the Shakespeare lover’s bookshelf, as well as capitvate anyone with a passion for plants or botanical art.
Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
Shakespearean Metadrama was first published in 1971. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
In a new approach to Shakespeare criticism, the author interprets five of Shakespeare's early plays as metadramas, dramas that are not only about the various moral, social, political, and other thematic issues with which critics have so long been concerned but also about the plays themselves. Professor Calderwood demonstrates that in these five plays Shakespeare writes about his dramatic art -- its nature, its media of language and theater, its generic forms and conventions, its relationship to truth and the social order.
In an introductory chapter the author explains his theory of metadrama, placing it in a general critical context as well as in the specific framework of Shakespeare's plays. He distinguishes between the meaning of metadrama and the similar terms "metaplay" and "metatheare." He points out that the dominant metadramatic aspect of the five plays under study is the interplay of language and action in drama. A separate chapter is devoted to the interpretation of each of the plays.
Professor Calderwood is aware that in presenting his critical theory and interpretations he may be met with skepticism by other scholars and critics. He anticipates such a situation in the introduction: "To the critic trying on introductory styles for a book on Shakespearean metadrama," he writes, "the plight of Falstaff at the Boar's Head Tavern comes all to readily to mind. 'What trick," he must ask himself, 'what device, what starting-hole, canst thou now find out to hide thee from this open and apparent shame?'"
To Engle, the problems of worth, price, and value that appear so frequently in Shakespeare's works reveal a playwright dramatizing the negotiable nature of perception and belief—in short, the nature of his audience's purchase on reality. This innovative argument is the first to view Shakespeare in the context of contemporary pragmatism and to show that Shakespeare in many ways anticipated pragmatism as it has been developed in the thought of Richard Rorty, Barbara Herrnstein Smith, and others. With detailed reference to the sonnets and plays, Engle explores Shakespeare's tendency to treat knowledge, truth, and certainty as relatively stable goods within a theatrical economy of social interaction. He shows the playwright recasting kingship, aristocracy, and poetic immortality in pragmatic terms.
As attentive to history as it is to contemporary theory, this book mediates between current and traditional accounts of Shakespeare. In doing so, it offers a sweeping new account of Shakespeare's enterprise that will interest philosophers, literary theorists, and Shakespeare scholars alike.
Published to accompany a major exhibition at the Bodleian Library, University of Oxford, Shakespeare’s Dead documents the many ways Shakespeare’s characters meet their demise, from suicide to murder, from death by workaday dagger to the more creative method of being baked and fed to one’s family in a meat pie. Through these examples, Simon Palfrey and Emma Smith show Shakespeare’s mastery at choreographing death as a means of rediscovery. Some characters refuse to go quietly, dying in stages, as in Nick Bottom’s performance as Pyramus killing himself with much flourish in A Midsummer Night’s Dream. Others are remembered in elegies, and still others are resurrected or reappear as ghosts. Shakespeare’s death scenes also often speak to the boundaries between theater and everyday life, with funerals and scenes of mourning that are undercut by their staged inauthenticity.
Extensively illustrated with contemporary drawings and images from stage history, Shakespeare’s Dead takes readers through the playwright’s great death scenes and tragic figures, exploring in them the theme of life in death and delineating the cultural, religious, and social contexts.
Michael Mooney draws on the work of East German critic Robert Weimann and his concept of figurenposition—the correlation between an actor’s stage location and the speech, action, and stylization associated with that position—to understand the actor/stage location relationship in Shakespeare’s plays. In his examination of the original staging of Shakespeare’s tragedies, Mooney looks at the traditional interplay between a downstage “place” and upstage “location” to describe the difference between non-illusionistic action (often staged near the audience) and the illusionistic, localized action that characterizes mimetic art.
The innovative and insightful approach of Shakespeare’s Dramatic Transactions brings together the techniques of performance criticism and the traditional literary study of Shakespearean tragedy. In showing how the distinctions of stage location illuminate the interaction among language, representation, Mooney’s compelling argument enhances our understanding of Shakespeare and the theater.
Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
Shakespeare lived in a world of absolutes—of claims for the absolute authority of scripture, monarch, and God, and the authority of fathers over wives and children, the old over the young, and the gentle over the baseborn. With the elegance and verve for which he is well known, Stephen Greenblatt, author of the best-selling Will in the World, shows that Shakespeare was strikingly averse to such absolutes and constantly probed the possibility of freedom from them. Again and again, Shakespeare confounds the designs and pretensions of kings, generals, and churchmen. His aversion to absolutes even leads him to probe the exalted and seemingly limitless passions of his lovers.
Greenblatt explores this rich theme by addressing four of Shakespeare’s preoccupations across all the genres in which he worked. He first considers the idea of beauty in Shakespeare’s works, specifically his challenge to the cult of featureless perfection and his interest in distinguishing marks. He then turns to Shakespeare’s interest in murderous hatred, most famously embodied in Shylock but seen also in the character Bernardine in Measure for Measure. Next Greenblatt considers the idea of Shakespearean authority—that is, Shakespeare’s deep sense of the ethical ambiguity of power, including his own. Ultimately, Greenblatt takes up Shakespearean autonomy, in particular the freedom of artists, guided by distinctive forms of perception, to live by their own laws and to claim that their creations are singularly unconstrained.
A book that could only have been written by Stephen Greenblatt, Shakespeare’s Freedom is a wholly original and eloquent meditation by the most acclaimed and influential Shakespearean of our time.
Shakespeare’s Grammatical Style is the first full-scale, systematic study using an examination of Shakespeare’s syntax as a key to the interpretation of his work.
Dolores M. Burton presents information on the application of linguistic and statistical techniques to the description and analysis of style, and she has applied the insights and techniques of the major schools of linguistic inquiry, including those of London and Prague.
Just as studies of imagery and vocabulary have aided interpretations of the plays, so an examination of the grammatical features of Shakespeare’s language indicates that they, too, perform a poetic and dramatic function. For example, noun modifiers like possessives and definite articles yield insights into a speaker’s point of view or subtly aid in defining the fictional world of the plays. With respect to stylistic development, Shakespeare’s handling of word order moved from a concentration of dislocated sentences and clause constituents to greater emphasis on varied and frequent permutations in nominal and verbal phrases.
A computer-generated concordance of function words facilitated the study of syntactic features, which included an examination of formal aspects of diction, nominal group structure, the function and frequency of relative clauses, and the classification of sentences by mood and type. Several problems associated with quantitative and linguistic studies of a full-length literary work are discussed and exemplified.
Style itself is defined mathematically as a propositional function S(A), and from this definition stylistic parameters are derived by correlating critical notions like fictional world, point of view, and characterization with differences in the syntax of the two plays.
At the center of the book is Shakespeare’s fascination with questions that are fundamental to both law and philosophy: What are the sources of agency? What counts as a person? For whom am I responsible, and how far does that responsibility extend? What is truly mine? Curran guides readers through Shakespeare’s responses to these questions, paying careful attention to both historical and intellectual contexts.
The result is a book that advances a new theory of Shakespeare’s imaginative relationship to law and an original account of law’s role in the ethical work of his plays and sonnets. Readers interested in Shakespeare, theater and philosophy, law, and the history of ideas will find Shakespeare’s Legal Ecologies to be an essential resource.
As Seth Lerer shows in this pioneering book, Shakespeare’s late plays invite us to contemplate that very question, offering up lyric as a displaced and sometimes desperate antidote to situations of duress or powerlessness. Lerer argues that the theme of lyric misalignment running throughout The Tempest, The Winter’s Tale, Henry VIII, and Cymbeline serves a political purpose, a last-ditch effort at transformation for characters and audiences who had lived through witch-hunting, plague, regime change, political conspiracies, and public executions.
A deep dive into the relationship between aesthetics and politics, this book also explores what Shakespearean lyric is able to recuperate for these “victims of history” by virtue of its disjointed utterances. To this end, Lerer establishes the concept of mythic lyricism: an estranging use of songs and poetry that functions to recreate the past as present, to empower the mythic dead, and to restore a bit of magic to the commonplaces and commodities of Jacobean England. Reading against the devotion to form and prosody common in Shakespeare scholarship, Lerer’s account of lyric utterance’s vexed role in his late works offers new ways to understand generational distance and cultural change throughout the playwright’s oeuvre.
Kenneth Gross explores Shakespeare's deep fascination with dangerous and disorderly forms of speaking—especially rumor, slander, insult, vituperation, and curse—and through them offers a vision of the work of words in his plays. Coriolanus's taunts or Lear's curses force us to think not just about how Shakespeare's characters speak, but also about how they hear, overhear, and mishear what is spoken, how rumor becomes tragic knowledge for Hamlet, or opens Othello to fantastic jealousies. Gross also shows how Shakespeare's preoccupation with "noisy" speech echoed and transformed a broader cultural obsession with the perils of rumor, slander, and libel in Renaissance England.
Elegantly written and passionately argued, Shakespeare's Noise will challenge and delight anyone who loves his plays, from scholars to general readers, actors, and directors.
Politicians are fond of saying that “children are the future.” How did the child become a figure for our political hopes? Joseph Campana’s book locates the source of this idea in transformations of childhood and political sovereignty during the age of Shakespeare, changes spectacularly dramatized by the playwright himself. Shakespeare’s works feature far more child figures—and more politically entangled children—than other literary or theatrical works of the era. Campana delves into this rich corpus to show how children and childhood expose assumptions about the shape of an ideal polity, the nature of citizenship, the growing importance of population and demographics, and the question of what is or is not human. As our ability to imagine viable futures on our planet feels ever more limited, and as children take up legal proceedings to sue on behalf of the future, it behooves us to understand the way past child figures haunt our conversations about intergenerational justice. Shakespeare offers critical precedents for questions we still struggle to answer.
INTRODUCTORY NOTE: The Politic Character of Shakespeare’s Comedy
PART ONE: THREE REGIMES: OLIGARCHY, ARISTOCRACY, MONARCHY
Chapter One: Shakespearean Comedy: Two Points on the Compass
Chapter Two: Gentlemen and Gentlemanliness
Chapter Three: Royal Dreaming
PART TWO: THE RULE OF LAW
Chapter Four: Comic Errors, Legal Slapstick
Chapter Five: What Will You?
PART THREE: THE COMEDY OF MORALS
Chapter Six: Taming Our Shrewishness
Chapter Seven: What Does Shakespeare Mean When He Says, “As You Like It”?
PART FOUR: THE COMEDY OF POLITICS
Chapter Eight: Is All Well That Ends Well?
Chapter Nine: The Geopolitics of Love
Chapter Ten: The Wisest Beholder
SHAKESPEARE’S POLITIC MERRIMENT
In essays looking at Julius Caesar, Othello, and The Merchant of Venice, Bloom shows how Shakespeare presents a picture of man that does not assume privileged access for only literary criticism. With this claim, he argues that political philosophy offers a comprehensive framework within which the problems of the Shakespearean heroes can be viewed. In short, he argues that Shakespeare was an eminently political author. Also included is an essay by Harry V. Jaffa on the limits of politics in King Lear.
"A very good book indeed . . . one which can be recommended to all who are interested in Shakespeare." —G. P. V. Akrigg
"This series of essays reminded me of the scope and depth of Shakespeare's original vision. One is left with the impression that Shakespeare really had figured out the answers to some important questions many of us no longer even know to ask."-Peter A. Thiel, CEO, PayPal, Wall Street Journal
Allan Bloom was the John U. Nef Distinguished Service Professor on the Committee on Social Thought and the co-director of the John M. Olin Center for Inquiry into the Theory and Practice of Democracy at the University of Chicago. Harry V. Jaffa is professor emeritus at Claremont McKenna College and Claremont Graduate School.
"I will try to claim that Shakespeare offers an esoteric vindication of the human soul itself, not merely poetry, against the looming backdrop of the Counter-Reformation in Europe and the Puritan perversion of English Anglicanism. Neither the Scholasticism of the former nor the fundamentalism of the latter had any sympathy for the claims of men like Bottom or the Bastard to see beyond the confines of scripture and sacred social structures. While poetry could indulge in metaphysical fantasy, it could not take on the status quo without the assistance of more learned allies; this Shakespeare seems to do by his re-telling of Classical and English history. As disingenuous as Bottom (or Erasmus) in this artful use of ignorance and folly to conceal his serious goals, Shakespeare is thus tying poetry to history and giving us an alternate, if playful, account of Western Civilization."
Cantor analyzes the way Shakespeare chronicles the rise and fall of the Roman Republic and the emergence of the Roman Empire. The transformation of the ancient city into a cosmopolitan empire marks the end of the era of civic virtue in antiquity, but it also opens up new spiritual possibilities that Shakespeare correlates with the rise of Christianity and thus the first stirrings of the medieval and the modern worlds.
More broadly, Cantor places Shakespeare’s plays in a long tradition of philosophical speculation about Rome, with special emphasis on Machiavelli and Nietzsche, two thinkers who provide important clues on how to read Shakespeare’s works. In a pathbreaking chapter, he undertakes the first systematic comparison of Shakespeare and Nietzsche on Rome, exploring their central point of contention: Did Christianity corrupt the Roman Empire or was the corruption of the Empire the precondition of the rise of Christianity? Bringing Shakespeare into dialogue with other major thinkers about Rome, Shakespeare’s Roman Trilogy reveals the true profundity of the Roman Plays.
In Shakespeare’s Rome, Cantor examines the political settings of Shakespeare’s Roman plays, Coriolanus and Antony and Cleopatra, with references as well to Julius Caesar. Cantor shows that Shakespeare presents a convincing portrait of Rome in different eras of its history, contrasting the austere republic of Coriolanus, with its narrow horizons and martial virtues, and the cosmopolitan empire of Antony and Cleopatra, with its “immortal longings” and sophistication bordering on decadence.
To be sure, Renaissance playwrights rarely sermonized in their plays, which seemed preoccupied with sex, violence, and crime. During a time when acting was regarded as a kind of vice, many theater professionals used their apparent godlessness to advantage, claiming that it enabled them to save wayward souls the church could not otherwise reach. The stage, they argued, made possible an ecumenical ministry, which would help transform Reformation England into a more inclusive Christian society.
Drawing on a variety of little-known as well as celebrated plays, along with a host of other documents from the English Renaissance, Shakespeare's Tribe changes the way we think about Shakespeare and the culture that produced him.
Winner of the Best Book in Literature and Language from the Association of American Publishers' Professional/Scholarly division, the Conference on Christianity and Literature Book Award, and the Roland H. Bainton Prize for Literature from the Sixteenth Century Society and Conference.
Contributors. Matt Bell, Amanda Berry, Daniel Boyarin, Judith Brown, Steven Bruhm, Peter Coviello, Julie Crawford, Drew Daniel, Mario DiGangi, Lee Edelman, Jason Edwards, Aranye Fradenburg, Carla Freccero, Daniel Juan Gil, Jonathan Goldberg, Jody Greene, Stephen Guy-Bray, Ellis Hanson, Sharon Holland, Cary Howie, Lynne Huffer, Barbara Johnson, Hector Kollias, James Kuzner , Arthur L. Little Jr., Philip Lorenz, Heather Love, Jeffrey Masten, Robert McRuer , Madhavi Menon, Michael Moon, Paul Morrison, Andrew Nicholls, Kevin Ohi, Patrick R. O’Malley, Ann Pellegrini, Richard Rambuss, Valerie Rohy, Bethany Schneider, Kathryn Schwarz, Laurie Shannon, Ashley T. Shelden, Alan Sinfield, Bruce Smith, Karl Steel, Kathryn Bond Stockton, Amy Villarejo, Julian Yates
Given the explosion in recent years of scholarship exploring the ways in which disability is manifested and performed in numerous cultural spaces, it’s surprising that until now there has never been a single monograph study covering the important intersection of popular music and disability. George McKay’s Shakin’ All Over is a cross-disciplinary examination of the ways in which popular music performers have addressed disability: in their songs, in their live performances, and in various media presentations.
By looking closely into the work of artists such as Johnny Rotten, Neil Young, Johnnie Ray, Ian Dury, Teddy Pendergrass, Curtis Mayfield, and Joni Mitchell, McKay investigates such questions as how popular music works to obscure and accommodate the presence of people with disabilities in its cultural practice. He also examines how popular musicians have articulated the experiences of disability (or sought to pass), or have used their cultural arena for disability advocacy purposes.
The second phase of the civil rights movement (1965-1973) was a pivotal period in the development of ethnic groups in the United States. In the years since then, new generations have asked new questions to cast light on this watershed era. No longer is it productive to consider only the differences between ethnic groups; we must also study them in relation to one another and to U.S. mainstream society.
In "Shakin' Up" Race and Gender, Marta E. Sánchez creates an intercultural frame to study the historical and cultural connections among Puerto Ricans, African Americans, and Chicanos/as since the 1960s. Her frame opens up the black/white binary that dominated the 1960s and 1970s. It reveals the hidden yet real ties that connected ethnics of color and "white" ethnics in a shared intercultural history. By using key literary works published during this time, Sánchez reassesses and refutes the unflattering portrayals of ethnics by three leading intellectuals (Octavio Paz, Daniel Patrick Moynihan, and Oscar Lewis) who wrote about Chicanos, African Americans, and Puerto Ricans. She links their implicit misogyny to the trope of La Malinche from Chicano culture and shows how specific characteristics of this trope—enslavement, alleged betrayal, and cultural negotiation—are also present in African American and Puerto Rican cultures. Sánchez employs the trope to restore the agency denied to these groups. Intercultural contact—encounters between peoples of distinct ethnic groups—is the theme of this book.
Shaking the Tree brings together nineteen review articles written for Nature over the past decade by many of the major figures in paleontology and evolution, from Stephen Jay Gould to Simon Conway Morris. Each article is brief, accessible, and opinionated, providing "shoot from the hip" accounts of the latest news and debates. Topics covered include major extinction events, homeotic genes and body plans, the origin and evolution of the primates, and reconstructions of phylogenetic trees for a wide variety of groups. The editor, Henry Gee, gives new commentary and updated references.
Shaking the Tree is a one-stop resource for engaging overviews of the latest research in the history of life on Earth.
Thousands of products promoting the Christian faith are sold to millions of consumers each year through the Web, mail order catalogs, and even national chains such as Kmart and Wal-Mart. Heather Hendershot explores in this book the vast industry of film, video, magazines, and kitsch that evangelicals use to spread their message. Focusing on the center of conservative evangelical culture—the white, middle-class Americans who can afford to buy "Christian lifestyle" products—she examines the industrial history of evangelist media, the curious subtleties of the products themselves, and their success in the religious and secular marketplace.
To garner a wider audience, Hendershot argues, evangelicals have had to carefully temper their message. But in so doing, they have painted themselves into a corner. In the postwar years, evangelical media wore the message of salvation on its sleeve, but as the evangelical media industry has grown, many of its most popular products have been those with heavily diluted Christian messages. In the eyes of many followers, the evangelicals who purvey such products are sellouts—hucksters more interested in making money than spreading the word of God.
Working to understand evangelicalism rather than pass judgment on it, Shaking the World for Jesus offers a penetrating glimpse into a thriving religious phenomenon.
Through his ambitious rebuilding plan, the Viceroy sought to assert the power of the colonial state over the Church, the upper classes, and other groups. Agreeing with most inhabitants of the fervently Catholic city that the earthquake-tsunami was a manifestation of God’s wrath for Lima’s decadent ways, he hoped to reign in the city’s baroque excesses and to tame the city’s notoriously independent women. To his great surprise, almost everyone objected to his plan, sparking widespread debate about political power and urbanism. Illuminating the shaky foundations of Spanish control in Lima, Walker describes the latent conflicts—about class, race, gender, religion, and the very definition of an ordered society—brought to the fore by the earthquake-tsunami of 1746.
Numerous popular and scholarly accounts have exposed the deep impact of patrons on the production of scientific knowledge and its applications. Shaky Foundations provides the first extensive examination of a new patronage system for the social sciences that emerged in the early Cold War years and took more definite shape during the 1950s and early 1960s, a period of enormous expansion in American social science.
By focusing on the military, the Ford Foundation, and the National Science Foundation, Mark Solovey shows how this patronage system presented social scientists and other interested parties, including natural scientists and politicians, with new opportunities to work out the scientific identity, social implications, and public policy uses of academic social research. Solovey also examines significant criticisms of the new patronage system, which contributed to widespread efforts to rethink and reshape the politics-patronage-social science nexus starting in the mid-1960s.
Based on extensive archival research, Shaky Foundations addresses fundamental questions about the intellectual foundations of the social sciences, their relationships with the natural sciences and the humanities, and the political and ideological import of academic social inquiry.
"What really led Einstein . . . to renounce the new quantum order? For those interested in this question, this book is compulsory reading."—Harvey R. Brown, American Journal of Physics
"Fine has successfully combined a historical account of Einstein's philosophical views on quantum mechanics and a discussion of some of the philosophical problems associated with the interpretation of quantum theory with a discussion of some of the contemporary questions concerning realism and antirealism. . . . Clear, thoughtful, [and] well-written."—Allan Franklin, Annals of Science
"Attempts, from Einstein's published works and unpublished correspondence, to piece together a coherent picture of 'Einstein realism.' Especially illuminating are the letters between Einstein and fellow realist Schrödinger, as the latter was composing his famous 'Schrödinger-Cat' paper."—Nick Herbert, New Scientist
"Beautifully clear. . . . Fine's analysis is penetrating, his own results original and important. . . . The book is a splendid combination of new ways to think about quantum mechanics, about realism, and about Einstein's views of both."—Nancy Cartwright, Isis
The Shale Dilemma brings together experts working at the forefront of shale gas issues on four continents to explain how countries reach their decisions on shale development. Using a common analytical framework, the authors identify both local factors and transnational patterns in the decision-making process. Eight case studies reveal the trade-offs each country makes as it decides whether to pursue, delay, or block development. Those outcomes in turn reflect the nature of a country’s political process and the power of interest groups on both sides of the issue. The contributors also ask whether the economic arguments made by the shale industry and its government supporters have overshadowed the concerns of local communities for information on the effects of shale operations, and for tax policies and regulations to ensure broad-based economic development and environmental protection.
As an informative and even-handed account, The Shale Dilemma recommends practical steps to help countries reach better, more transparent, and more far-sighted decisions.
Although a technique for hydraulic fracturing—more commonly known as fracking—was developed and implemented in the 1970s in Texas, fracking of the Marcellus Shale formation that stretches from West Virginia through Pennsylvania to New York did not begin in earnest until the twenty-first century. Unconventional natural gas production via fracking has ignited debate, challenged regulators, and added to the complexity of twenty-first-century natural resource management. Through a longitudinal study taken from 2000 to 2015, Jonathan M. Fisk, Soren Jordan, and A. J. Good examine how the management of natural resources functions relative to specific regulatory actions including inspections, identifying violations, and the use of specific regulatory tools. Ultimately, they find that factors as disparate as state policy goals, elected officials, the availability of data, inspectors, front-line staff, and the use of technology form a context that, in turn, shapes the use of specific regulatory tools and decisions.
Upon the death of his father Morris at age 82, Lennard Davis found among his effects a trove of letters, kept in careful chronological order, that dated from 1936. The letters ended in 1938, when Eva Weintrobe came to America to marry Morris, and they provide the core of Shall I Say A Kiss?, their courtship by correspondence. In his framing comments, Davis speculates that his parents met perhaps four or five times before they wed, a fact that heightens the importance of these letters to their fate. Davis illustrates vast contrasts between Morris and Eva, both to each other (Morris was 38; Eva was 26), and to themselves in later life as witnessed by their son. Where Davis saw his father brimming with confidence and a sense of superior intellect while his mother acted as the reserved, dutiful wife, he was startled to learn through their letters that she could be the shrewd questioning correspondent even as his father wrote as an unsure, imploring suitor.
Shall I Say A Kiss? opens a window into the lives of two working-class, Jewish, British, Deaf people in the 1930s. This striking book reveals a consistent, journal-like account of the “lived” experience of Deaf people during the tumultuous times just prior to World War II. Because the correspondence is mainly composed of Eva’s letters, the focus sharpens even further as a record of the life and opinions of a young, working-class, Deaf woman about to embark upon marriage and life in a new country. The challenges she faced, including de facto racial barriers for both deaf and Jewish immigrants, and the prospect of uniting with a man she knew mostly through his letters alone, make for a compelling and emotional trip through her life. Shall I Say A Kiss? serves as a singular social document and also as an engaging and often moving narrative that will win audiences among academics and romantics alike.
Official Companion to the Library of Congress Exhibition.
The campaign for women’s suffrage—considered the largest reform movement in American history—lasted more than seven decades. The struggle was not for the fainthearted. For years, determined women organized, lobbied, paraded, petitioned, lectured, picketed, and faced imprisonment in pursuit of the right to vote. Drawing from the Library’s extensive collections of photographs, personal papers, and the organizational records of such figures as Susan B. Anthony, Elizabeth Cady Stanton, Mary Church Terrell, Carrie Chapman Catt, the National Woman’s Party, and the National American Woman Suffrage Association, Shall Not Be Denied traces the movement leading to the women’s rights convention at Seneca Falls, the contributions of suffragists who worked to persuade women that they deserved the same rights as men, the divergent political strategies and internal divisions they overcame, the push for a federal women’s suffrage amendment, and the legacy of the movement.
A companion to the exhibition staged by the Library of Congress, which opened on June 4, 2019—the 100th anniversary of the US Senate’s passage of the suffrage amendment that would become the 19th amendment—Shall Not Be Denied: Women Fight for the Vote is part of the national commemoration of the 100th anniversary of women’s suffrage.
Published by Rutgers University Press in association with the Library of Congress.
Archaeologists today are interpreting Native American religion and ritual in the distant past in more sophisticated ways, considering new understandings of the ways that Native Americans themselves experienced them. Shaman, Priest, Practice, Belief: Materials of Ritual and Religion in Eastern North America broadly considers Native American religion and ritual in eastern North America and focuses on practices that altered and used a vast array of material items as well as how physical spaces were shaped by religious practices.
Unbound to a single theoretical perspective of religion, contributors approach ritual and religion in diverse ways. Importantly, they focus on how people in the past practiced religion by altering and using a vast array of material items, from smoking pipes, ceremonial vessels, carved figurines, and iconographic images, to sacred bundles, hallucinogenic plants, revered animals, and ritual architecture. Contributors also show how physical spaces were shaped by religious practice, and how rock art, monuments, soils and special substances, and even land- and cityscapes were part of the active material worlds of religious agents.
Case studies, arranged chronologically, cover time periods ranging from the Paleoindian period (13,000–7900 BC) to the late Mississippian and into the protohistoric/contact periods. The geographical scope is much of the greater southeastern and southern Midwestern culture areas of the Eastern Woodlands, from the Central and Lower Mississippi River Valleys to the Ohio Hopewell region, and from the greater Ohio River Valley down through the Deep South and across to the Carolinas.
Contributors
Sarah E. Baires / Melissa R. Baltus / Casey R. Barrier / James F. Bates / Sierra M. Bow / James A. Brown / Stephen B. Carmody / Meagan E. Dennison / Aaron Deter-Wolf / David H. Dye / Bretton T. Giles / Cameron Gokee / Kandace D. Hollenbach / Thomas A. Jennings / Megan C. Kassabaum / John E. Kelly / Ashley A. Peles / Tanya M. Peres / Charlotte D. Pevny / Connie M. Randall / Jan F. Simek / Ashley M. Smallwood / Renee B. Walker / Alice P. Wright
Bringing to light a hidden chapter in the history of modern Judaism, Shamanic Trance in Modern Kabbalah explores the shamanic dimensions of Jewish mysticism. Jonathan Garb integrates methods and models from the social sciences, comparative religion, and Jewish studies to offer a fresh view of the early modern kabbalists and their social and psychological contexts.
Through close readings of numerous texts—some translated here for the first time—Garb draws a more complete picture of the kabbalists than previous depictions, revealing them to be as concerned with deeper states of consciousness as they were with study and ritual. Garb discovers that they developed physical and mental methods to induce trance states, visions of heavenly mountains, and transformations into animals or bodies of light. To gain a deeper understanding of the kabbalists’ shamanic practices, Garb compares their experiences with those of mystics from other traditions as well as with those recorded by psychologists such as Milton Erickson and Carl Jung. Finally, Garb examines the kabbalists’ relations with the wider Jewish community, uncovering the role of kabbalistic shamanism in the renewal of Jewish tradition as it contended with modernity.
The book reveals the various ways in which anthropologists, historians, folklorists, and other writers have often misrepresented indigenous shamanism and revitalization movements by unconsciously projecting ideologies and assumptions derived from modern ‘contract societies’ onto ethnographic and historical realities. Lowrey also provides alternative ways of understanding indigenous American communities and their long histories of interethnic relations with expanding colonial and national states in the Americas. A creative historical and ethnographical reevaluation of the last few decades of scholarship on shamanism, disability, and dependence, Shamanism and Vulnerability on the North and South American Great Plains will be of interest to scholars of North and South American anthropology, indigenous history, American studies, and feminism.
"This extraordinary book . . . will encourage ever more critical and creative explorations."—Fernando Coronil, [I]American Journal of Sociology[/I]
"Taussig has brought a formidable collection of data from arcane literary, journalistic, and biographical sources to bear on . . . questions of evil, torture, and politically institutionalized hatred and terror. His intent is laudable, and much of the book is brilliant, both in its discovery of how particular people perpetrated evil and others interpreted it."—Stehen G. Bunker, Social Science Quarterly
Contributors are Tamsyn Barton, Sysan Bayly, Mary Beard, Maurice Bloch, Peter Gow, Roberte N. Hamayon, Stephen Hugh-Jones, Caroline Humphrey, and Nicholas Thomas.
"The importance of this collection lies in the painstaking, many-sided ways in which it shows 'shamanism' to be a multifarious and continuously changing 'dialogue' or interaction with specific, local contexts. . . . Thus, rather than tackling the issue in principle, this collection tries to demonstrate through 'case studies' just how different 'shamanism' becomes if seen through a lens sensitive to history and the influence of institutions, such as the state, which seem far removed from it. I think the demonstrations add up to an impressive force." --Michael Taussig
"This new, ably edited volume provides . . . chapters that are rich in historic detail and that provide insights into general cultural processes and social interactions." --Historian
Nicholas Thomas is Queen Elizabeth II Research Fellow, Department of Prehistory and Anthropology, Australian National University, Canberra. He is the author of Out of Time: History and Evolution in Anthropological Discourse. Caroline Humphrey, author of Karl Marx Collective: Economy, Society and Religion in a Siberian Collective Farm, is Fellow of King's College and Lecturer in Social Anthropology, University of Cambridge.
Huichol Indian yarn paintings are one of the world's great indigenous arts, sold around the world and advertised as authentic records of dreams and visions of the shamans. Using glowing colored yarns, the Huichol Indians of Mexico paint the mystical symbols of their culture—the hallucinogenic peyote cactus, the blue deer-spirit who appears to the shamans as they croon their songs around the fire in all-night ceremonies deep in the Sierra Madre mountains, and the pilgrimages to sacred sites, high in the central Mexican desert of Wirikuta.
Hope MacLean provides the first comprehensive study of Huichol yarn paintings, from their origins as sacred offerings to their transformation into commercial art. Drawing on twenty years of ethnographic fieldwork, she interviews Huichol artists who have innovated important themes and styles. She compares the artists' views with those of art dealers and government officials to show how yarn painters respond to market influences while still keeping their religious beliefs.
Most innovative is her exploration of what it means to say a tourist art is based on dreams and visions of the shamans. She explains what visionary experience means in Huichol culture and discusses the influence of the hallucinogenic peyote cactus on the Huichol's remarkable use of color. She uncovers a deep structure of visionary experience, rooted in Huichol concepts of soul-energy, and shows how this remarkable conception may be linked to visionary experiences as described by other Uto-Aztecan and Meso-American cultures.
"With extraordinary sympathy, open-mindedness, and insight Sudhir Kakar has drawn from both his Eastern and Western backgrounds to show how the gulf that divides native healer from Western psychiatrist can be spanned."—Rosemary Dinnage, New York Review of Books
"Each chapter describes the geographical and cultural context within which the healers work, their unique approach to healing mental illness, and . . . the philosophical and religious underpinnings of their theories compared with psychoanalytical theory."—Choice
Drawing on anthropologist Ana Mariella Bacigalupo's fifteen years of field research, Shamans of the Foye Tree: Gender, Power, and Healing among Chilean Mapuche is the first study to follow shamans' gender identities and performance in a variety of ritual, social, sexual, and political contexts.
To Mapuche shamans, or machi, the foye tree is of special importance, not only for its medicinal qualities but also because of its hermaphroditic flowers, which reflect the gender-shifting components of machi healing practices. Framed by the cultural constructions of gender and identity, Bacigalupo's fascinating findings span the ways in which the Chilean state stigmatizes the machi as witches and sexual deviants; how shamans use paradoxical discourses about gender to legitimatize themselves as healers and, at the same time, as modern men and women; the tree's political use as a symbol of resistance to national ideologies; and other components of these rich traditions.
The first comprehensive study on Mapuche shamans' gendered practices, Shamans of the Foye Tree offers new perspectives on this crucial intersection of spiritual, social, and political power.
Who owns your genetic information? Might it be the doctors who, in the course of removing your spleen, decode a few cells and turn them into a patented product? In 1990 the Supreme Court of California said yes, marking another milestone on the information superhighway. This extraordinary case is one of the many that James Boyle takes up in Shamans, Software, and Spleens, a timely look at the infinitely tricky problems posed by the information society. Discussing topics ranging from blackmail and insider trading to artificial intelligence (with good-humored stops in microeconomics, intellectual property, and cultural studies along the way), Boyle has produced a work that can fairly be called the first social theory of the information age.
Now more than ever, information is power, and questions about who owns it, who controls it, and who gets to use it carry powerful implications. These are the questions Boyle explores in matters as diverse as autodialers and direct advertising, electronic bulletin boards and consumer databases, ethno-botany and indigenous pharmaceuticals, the right of publicity (why Johnny Carson owns the phrase "Here's Johnny!"), and the right to privacy (does J. D. Salinger "own" the letters he's sent?). Boyle finds that our ideas about intellectual property rights rest on the notion of the Romantic author--a notion that Boyle maintains is not only outmoded but actually counterproductive, restricting debate, slowing innovation, and widening the gap between rich and poor nations. What emerges from this lively discussion is a compelling argument for relaxing the initial protection of authors' works and expanding the concept of the fair use of information. For those with an interest in the legal, ethical, and economic ramifications of the dissemination of information--in short, for every member of the information society, willing or unwilling--this book makes a case that cannot be ignored.
Through lists, fragments, recollections, and rants, the story of a son’s vexing grief for his father emerges. A sober addict trying to figure out how to navigate pleasure, diversion, and escape. A father trying to figure out marriage, children, maturity, and responsibility. A confused observer in a world constantly torn apart by media, politics, and aggression. A meditation on the nature of art, and art’s place in contemporary life.
Peter N. Stearns draws on his long career as a historian of emotions to provide the foundational text on shame’s history and how this history contributes to contemporary issues around the emotion. Summarizing current research, Stearns unpacks the major debates that surround this complex emotion. He also surveys the changing role of shame in the United States from the nineteenth century to today, including shame’s revival as a force in the 1960s and its place in today’s social media. Looking ahead, he maps the abundant opportunities for future historical research and historically informed interdisciplinary scholarship.
Written for interested readers and scholars alike, Shame combines significant new research with a wider synthesis.
First removed from Arizona to Florida, the prisoners were eventually relocated to Mount Vernon Barracks in Alabama, where, in the words of one Apache, "We didn’t know what misery was until they dumped us in those swamps." Pulmonary disease took its toll—by 1894, disease had killed nearly half of the Apaches—and after years of pressure from Indian rights activists and bureaucratic haggling, Fort Sill in Oklahoma was chosen as a more healthful location. Here they were given the opportunity to farm, and here Geronimo, who eventually converted to Christianity, died of pneumonia in 1909 at the age of 89, still a prisoner of war. In the meantime, many Apache children had been removed to Carlisle, Pennsylvania, for education—despite earlier promises that families would not be split up—and most eventually lost their cultural identity.
Henrietta Stockel has combed public records to reconstruct this story of American shame and Native endurance. Unabashedly speaking on behalf of the Apaches, she has framed these documents within a readable narrative to show how exasperated public officials, eager to openly demonstrate their superiority over "savages" who had successfully challenged the American military for years, had little sympathy for the consequences of their confinement. Although the Chiricahua Apaches were not alone in losing their ancestral homelands, they were the only American Indians imprisoned for so long a time in an environment that continually exposed them to illnesses against which they had no immunity, devastating families even more than warfare. Shame and Endurance records events that ought never to be repeated—and tells a story that should never be forgotten.
Silvan Tomkins (1911–1991) was one of the most radical and imaginative psychologists of the twentieth century. In Affect, Imagery, Consciousness, a four-volume work published over the last thirty years of his life, Tomkins developed an ambitious theory of affect steeped in cybernetics and systems theory as well as in psychoanalysis, ethology, and neuroscience. The implications of his conceptually daring and phenomenologically suggestive theory are only now—in the context of postmodernism—beginning to be understood. With Shame and Its Sisters, editors Eve Kosofsky Sedgwick and Adam Frank make available for the first time an engaging and accessible selection of Tomkins’s work.
Featuring intensive examination of several key affects, particularly shame and anger, this volume contains many of Tomkins’s most haunting, diagnostically incisive, and theoretically challenging discussions. An introductory essay by the editors places Tomkins’s work in the context of postwar information technologies and will prompt a reexamination of some of the underlying assumptions of recent critical work in cultural studies and other areas of the humanities. The text is also accompanied by a biographical sketch of Tomkins by noted psychologist Irving E. Alexander, Tomkins’s longtime friend and collaborator.
John H. M. Laslett offers a new interpretation of the Chavez Ravine tragedy, paying special attention to the early history of the barrio, the reform of Los Angeles's destructive urban renewal policies, and the influence of the evictions on the collective memory of the Mexican American community.
In addition to examining the political decisions made by power brokers at city hall, Shameful Victory argues that the tragedy exerted a much greater influence on the history of the Los Angeles civil rights movement than has hitherto been appreciated. The author also sheds fresh light on how the community grew, on the experience of individual home owners who were evicted from the barrio, and on the influence that the event had on the development of recent Chicano/a popular music, drama, and literature.
In Shaming into Brown: Somatic Transactions of Race in Latina/o Literature, Stephanie Fetta asserts that our bodies are fundamental to how we live and how we make meaning. Anchored by two psychoanalytic theories, bioenergetic analysis developed by Alexander Lowen and affect theory put forth by Silvan Tomkins, Fetta examines Latinx fiction to draw attention to the cultural role of the intelligent, emotional, and communicative body—the soma—in relation to shame. She argues that we bring the soma—the physical, emotive, and social register of our subjectivity—to the text as we do to our lives,proposing that the power of racialization operates at the level of somatic expression and reception through habituated, socially cued behaviors that are not readily subject to intentional control.
Fetta examines shame beyond individual experiences, looking at literary renderings of the cultural practice of racial shaming that are deeply embedded into our laws, hiring practices, marketing strategies, and more. Grounding her analysis in the works of Gloria Anzaldúa and Cherríe Moraga, Shaming into Brown focuses on exposing the underpinnings of racialized shame and does so through analyzing “scenes of racialization” in prominent works by authors such as Junot Díaz, Sandra Cisneros, and Oscar Zeta Acosta.
Convicted sexually violent predators are more vilified, more subject to media misrepresentation, and more likely to be denied basic human rights than any other population. Shaming the Constitution authors Michael Perlin and Heather Cucolo question the intentions of sex offender laws, offering new approaches to this most complex (and controversial) area of law and social policy.
The authors assert that sex offender laws and policies are unconstitutional and counter-productive. The legislation largely fails to add to public safety—even ruining lives for what are, in some cases, trivial infractions. Shaming the Constitution draws on law, behavioral sciences, and other disciplines to show that many of the “solutions” to penalizing sexually violent predators are “wrong,” as they create the most repressive and useless laws.
In addition to tracing the history of sex offender laws, the authors address the case of Jesse Timmendequas, whose crime begat “Megan’s Law;” the media’s role in creating a “moral panic;” recidivism statistics and treatments, as well as international human rights laws. Ultimately, they call attention to the flaws in the system so we can find solutions that contribute to public safety in ways that do not mock Constitutional principles.
Calling into question conventional ways of conceptualizing modernity, colonialism, and intercultural relations, Meng Yue examines such cultural practices as the work of the commercial press, street theater, and literary arts, and shows that what appear to be minor cultural changes often signal the presence of larger political and economic developments. Engaging theories of modernity and postcolonial and global cultural studies, Meng Yue reveals the paradoxical interdependence between imperial and imperialist histories and the retranslation of culture that characterized the most notable result of China’s urban relocation—the emergence of the international city of Shanghai.
Meng Yue is assistant professor of East Asian languages and literature at the University of California, Irvine.
A common generalization about the Nationalist Government in China during the 1927-1937 decade has been that Chiang Kai-shek's regime was closely allied with the capitalists in Shanghai. This book brings to light a different picture--that Nanking sought to control the capitalists politically, to prevent them from having a voice in the political structure, and to milk the wealth of the urban economy for government coffers. This study documents major political conflicts between the capitalists and the government and demonstrates that the regime gradually suppressed the main organizations of the capitalists and gained control of many of their financial and industrial enterprises.
This is the first systematic examination of the political role of the Shanghai capitalists during the Nanking decade. A number of related issues--the operation of the government bond market, the role of the Shanghai underworld and its ties to Chiang Kai-shek, the personalities and policies of key government officials such as TV. Soong and H.H. Kung, the Japanese attempt to control the economic policies of the Nanking government, and the growth of "bureaucratic capitalism"--are brought into focus.
A common generalization about the Nationalist Government in China during the 1927-1937 decade has been that Chiang Kai-shek's regime was closely allied with the capitalists in Shanghai. This book brings to light a different picture--that Nanking sought to control the capitalists politically, to prevent them from having a voice in the political structure, and to milk the wealth of the urban economy for government coffers. This study documents major political conflicts between the capitalists and the government and demonstrates that the regime gradually suppressed the main organizations of the capitalists and gained control of many of their financial and industrial enterprises.
This is the first systematic examination of the political role of the Shanghai capitalists during the Nanking decade. A number of related issues--the operation of the government bond market, the role of the Shanghai underworld and its ties to Chiang Kai-shek, the personalities and policies of key government officials such as TV. Soong and H.H. Kung, the Japanese attempt to control the economic policies of the Nanking government, and the growth of "bureaucratic capitalism"--are brought into focus.
As the complex plot to bring down a major financial institution unfolds at a rapid pace, American and Japanese officials scramble to prevent a crisis with international implications. Set against the backdrop of the political and financial practices of Japan, China, and the US, The Shanghai Intrigue brings with it murder, betrayal, romance, even a natural disaster, as the plot races to a most unpredictable outcome. The book’s breakneck speed and thrilling twists and turns will leave readers spellbound from the first page.
In the midst of China’s wild rush to modernize, a surprising note of reality arises: Shanghai, it seems, was once modern indeed, a pulsing center of commerce and art in the heart of the twentieth century. This book immerses us in the golden age of Shanghai urban culture, a modernity at once intrinsically Chinese and profoundly anomalous, blending new and indigenous ideas with those flooding into this “treaty port” from the Western world.
A preeminent specialist in Chinese studies, Leo Ou-fan Lee gives us a rare wide-angle view of Shanghai culture in the making. He shows us the architecture and urban spaces in which the new commercial culture flourished, then guides us through the publishing and filmmaking industries that nurtured a whole generation of artists and established a bold new style in urban life known as modeng. In the work of six writers of the time, particularly Shi Zhecun, Mu Shiying, and Eileen Chang, Lee discloses the reflection of Shanghai’s urban landscape—foreign and familiar, oppressive and seductive, traditional and innovative. This work acquires a broader historical and cosmopolitan context with a look at the cultural links between Shanghai and Hong Kong, a virtual genealogy of Chinese modernity from the 1930s to the present day.
The book begins by examining the history of the jazz-age dance scenes that arose in the ballrooms and nightclubs of Shanghai’s foreign settlements. During its heyday in the 1930s, Shanghai was known worldwide for its jazz cabarets that fused Chinese and Western cultures. The 1990s have seen the proliferation of a drinking, music, and sexual culture collectively constructed to create new contact zones between the local and tourist populations. Today’s Shanghai night scenes are simultaneously spaces of inequality and friction, where men and women from many different walks of life compete for status and attention, and spaces of sociability, in which intercultural communities are formed. Shanghai Nightscapes highlights the continuities in the city’s nightlife across a turbulent century, as well as the importance of the multicultural agents of nightlife in shaping cosmopolitan urban culture in China’s greatest global city.
To listen to an audio diary of a night out in Shanghai with Farrer and Field, click here: http://n.pr/1VsIKAw.
Analyzing a Chinese city’s dazzling rise to global megacity status
Until around 1990, Shanghai was China’s premier but sluggish industrial center. Now at the beginning of the twenty-first century, the joint impact of global forces and state power has turned Shanghai into a dynamic megacity. Shanghai’s remarkable growth in economy, infrastructure, and global presence has prompted questions about the Shanghai “miracle.” This collection places the city’s unprecedented rise in a rare comparative examination of U.S. cities, as well as with Asian megacities Singapore and Hong Kong, providing a nuanced account of how Shanghai’s politics, economy, society, and space have been transformed by macro- and micro-level forces.
Contributors: Stephen W. K. Chiu, Chinese U of Hong Kong; K. C. Ho, National U of Singapore; John D. Kasarda, U of North Carolina; Hanlong Lu, Shanghai Academy of Social Sciences; Tai-lok Lui, Chinese U of Hong Kong; Ann R. Markusen, U of Minnesota; Anthony M. Orum, U of Illinois, Chicago; Yuan Ren, Fudan U Shanghai; Saskia Sassen, Columbia U; Jiaming Sun, Texas A&M U, Commerce; Fulong Wu, Cardiff U; Pingkang Yu, George Washington U; Tingwei Zhang, U of Illinois, Chicago; Zhenhua Zhou, Development Research Center, Shanghai Municipal Government.
The word “shantytown” conjures images of crowded slums in developing nations. Though their history is largely forgotten, shantytowns were a prominent feature of one developing nation in particular: the United States. Lisa Goff restores shantytowns to the central place they once occupied in America’s urban landscape, showing how the basic but resourcefully constructed dwellings of America’s working poor were not merely the byproducts of economic hardship but potent assertions of self-reliance.
In the nineteenth century, poor workers built shantytowns across America’s frontiers and its booming industrial cities. Settlements covered large swaths of urban property, including a twenty-block stretch of Manhattan, much of Brooklyn’s waterfront, and present-day Dupont Circle in Washington, D.C. Names like Tinkersville and Hayti evoked the occupations and ethnicities of shantytown residents, who were most often European immigrants and African Americans. These inhabitants defended their civil rights and went to court to protect their property and resist eviction, claiming the benefits of middle-class citizenship without its bourgeois trappings.
Over time, middle-class contempt for shantytowns increased. When veterans erected an encampment near the U.S. Capitol in the 1930s President Hoover ordered the army to destroy it, thus inspiring the Depression-era slang “Hoovervilles.” Twentieth-century reforms in urban zoning and public housing, introduced as progressive efforts to provide better dwellings, curtailed the growth of shantytowns. Yet their legacy is still felt in sites of political activism, from shanties on college campuses protesting South African apartheid to the tent cities of Occupy Wall Street demonstrations.
A new and innovative way to approach the Psalter that moves beyond form and cult-functional criticism
Drawing inspiration from Gerald H. Wilson’s The Editing of the Hebrew Psalter, this volume explores questions of the formation of the Psalter from the perspective of canonical criticism. Though called “canonical criticism,” the study actually employs a number of historically traditional and nontraditional approaches to reading the text including form criticism, historical criticism of individual psalms as well as of the whole Psalter, and redaction criticism.
Features:
- Exploration of collections of psalms, theological viewpoints, sovereignty, and the shape and shaping of Psalms
- Examination of the impact of canonical criticism on the study of the Psalter
- Sixteen essays from the Book of Psalms Consultation group and invited scholars
In The Shape of Craft, Ezra Shales explores some of the key questions of craft: who makes it, what do we mean when we think about a crafted object, where and when crafted objects are made, and what this all means to our understanding of craft. He argues that, beyond the clichés, craft still adds texture to sterile modern homes and it provides many people with a livelihood, not just a hobby. Along the way, Shales upends our definition of what is handcrafted or authentic, revealing the contradictions in our expectations of craft. Craft is—and isn’t—what we think.
Does going green change the face of design or only its content? The first book to outline principles for the aesthetics of sustainable design, The Shape of Green argues that beauty is inherent to sustainability, for how things look and feel is as important as how they’re made.
In addition to examining what makes something attractive or emotionally pleasing, Hosey connects these questions with practical design challenges. Can the shape of a car make it more aerodynamic and more attractive at the same time? Could buildings be constructed of porous materials that simultaneously clean the air and soothe the skin? Can cities become verdant, productive landscapes instead of wastelands of concrete?
Drawing from a wealth of scientific research, Hosey demonstrates that form and image can enhance conservation, comfort, and community at every scale of design, from products to buildings to cities. Fully embracing the principles of ecology could revolutionize every aspect of design, in substance and in style. Aesthetic attraction isn’t a superficial concern — it’s an environmental imperative. Beauty could save the planet.
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