Shakespeare S Festive Comedy

In this classic work, acclaimed Shakespeare critic C. L. Barber argues that Elizabethan seasonal festivals such as May Day and Twelfth Night are the key to understanding Shakespeare's comedies. Brilliantly interweaving anthropology, social history, and literary criticism, Barber traces the inward journey--psychological, bodily, spiritual--of the comedies: from confusion, raucous laughter, aching desire, and aggression, to harmony. Revealing the interplay between social custom and dramatic form, the book shows how the Elizabethan antithesis between everyday and holiday comes to life in the comedies' combination of seriousness and levity. "I have been led into an exploration of the way the social form of Elizabethan holidays contributed to the dramatic form of festive comedy. To relate this drama to holiday has proved to be the most effective way to describe its character. And this historical interplay between social and artistic form has an interest of its own: we can see here, with more clarity of outline and detail than is usually possible, how art develops underlying configurations in the social life of a culture."--C. L. Barber, in the Introduction This new edition includes a foreword by Stephen Greenblatt, who discusses Barber's influence on later scholars and the recent critical disagreements that Barber has inspired, showing that Shakespeare's Festive Comedy is as vital today as when it was originally published.

A study of the relationship between traditional festive pastimes, including Midsummer pageants and dancing, and Shakespeare's plays.

Female victims and female jokers -- The privileges of rank -- Falstaff -- The ideal victim -- How far can you go? -- The triumph over shame -- Practical jokes and evil practices.

The Oxford Handbook of Shakespearean Comedy offers critical and contemporary resources for studying Shakespeare's comic enterprises. It engages with perennial, yet still urgent questions raised by the comedies and looks at them from a range of new perspectives that represent the most recent methodological approaches to Shakespeare, genre, and early modern drama. Several chapters take up firmly established topics of inquiry such Shakespeare's source materials, gender and sexuality, hetero- and homoerotic desire, race, and religion, and they reformulate these topics in the materialist, formalist, phenomenological, or revisionist terms of current scholarship and critical debate. Others explore subjects that have only relatively recently become pressing concerns for sustained scholarly interrogation, such as ecology, cross-species interaction, and humoral theory. Some contributions, informed by increasingly sophisticated approaches to the material conditions and embodied experience of theatrical practice, speak to a resurgence of interest in performance, from Shakespeare's period through the first decades of the twenty-first century. Others still investigate distinct sets of plays from unexpected and often polemical angles, noting connections between the comedies under inventive, unpredicted banners such as the theology of adultery, early modern pedagogy, global exploration, or monarchical rule. All the chapters offer contemporary perspectives on the plays even as they gesture to critical traditions, and they illuminate as well as challenge some of our most cherished expectations about the ways in which Shakespearean comedy affects its audiences. The Handbook situates these approaches against the long history of criticism and provides a valuable overview of the most up-to-date work in the field.

The first volume in the beloved novelist Marie-Claire Blais’ prize-winning novel cycle — acclaimed as one of the greatest undertakings in modern Quebec fiction — reissued in a handsome A List edition, featuring an introduction by Lisa Moore. Originally published in 1995 under the title Soifs, the first novel in Marie-Claire Blais’ masterful series won the Governor General’s Award for French Fiction and was hailed by critics around the world as a tour de force, comparing Blais to such literary greats as Virginia Woolf, Dante, Sophocles, and Shakespeare. In this dazzling rendering, These Festive Nights, celebrated translator Sheila Fischman brings Blais’ novel to life for English-speaking readers. A sun-drenched paradise in the Gulf of Mexico surrounded by the glimmering blue sea; Renata is convalescing on this island poised between two worlds: between great wealth and extreme poverty, between the past and an uncertain future, between the beauty of the world and the horrors of history. During her time here, Renata becomes tormented by thirst — for justice, for pleasure, for intoxication — while all around her, festivities are going on in joint celebration of the birth of baby Vincent and the end of the twentieth century. Over the course of three days and three nights a flock of characters assembles — an entire spectrum of humanity is depicted in the grip of doubt and suffering. In this swirling, baroque fresco, Marie-Claire Blais captures the essence of our apocalyptic age, rendering it in powerfully evocative prose.