The Lords And Owners Of Their Faces Shakespeare S Women And Power

men who love them of certain distorted notions about women, and teach them to know themselves. In this respect, the "Dark Lady" of the Sonnets is an archetype.

First published in 1991, this book is the first annotated bibliography of feminist Shakespeare criticism from 1975 to 1988 — a period that saw a remarkable amount of ground-breaking work. While the primary focus is on feminist studies of Shakespeare, it also includes wide-ranging works on language, desire, role-playing, theatre conventions, marriage, and Elizabethan and Jacobean culture — shedding light on Shakespeare’s views on and representation of women, sex and gender. Accompanying the 439 entries are extensive, informative annotations that strive to maintain the original author’s perspective, supplying a careful and thorough account of the main points of an article.

Throughout his plays, Shakespeare placed an extraordinary emphasis on the power of the face to reveal or conceal moral character and emotion, repeatedly inviting the audience to attend carefully to facial features and expressions. The essays collected here disclose that an attention to the power of the face in Shakespeare’s England helps explain moments when Shakespeare’s language of the self becomes intertwined with his language of the face. As the range of these essays demonstrates, an attention to Shakespeare’s treatment of faces has implications for our understanding of the historical and cultural context in which he wrote, as well as the significance of the face for the ongoing interpretation and production of the plays. Engaging with a variety of critical strands that have emerged from the so-called turn to the body, the contributors to this volume argue that Shakespeare’s invitation to look to the face for clues to inner character is not an invitation to seek a static text beneath an external image, but rather to experience the power of the face to initiate reflection, judgment, and action. The evidence of the plays suggests that Shakespeare understood that this experience was extremely complex and mysterious. By turning attention to the face, the collection offers important new analyses of a key feature of Shakespeare’s dramatic attention to the part of the body that garnered the most commentary in early modern England. By bringing together critics interested in material culture studies with those focused on philosophies of self and other and historians and theorists of performance, Shakespeare and the Power of the Face constitutes a significant contribution to our growing understanding of attitudes towards embodiment in Shakespeare’s England.

A pair of twins are separated by a shipwreck, each believing the other has drowned. A lovesick duke woos a countess deep in mourning for her brother, while her rowdy household plots the downfall of her puritanical steward. Disguise, confusion, and mistaken identity follow in Shakespeare’s great comedy of love in all its manifestations. Under the editorial supervision of Jonathan Bate and Eric Rasmussen, two of today’s most accomplished Shakespearean scholars, this Modern Library series incorporates definitive texts and authoritative notes from William Shakespeare: Complete Works. Each play includes an Introduction as well as an overview of Shakespeare’s theatrical career; commentary on past and current productions based on interviews with leading directors, actors, and designers; scene-by-scene analysis; key facts about the work; a chronology of Shakespeare’s life and times; and black-and-white illustrations. Ideal for students, theater professionals, and general readers, these modern and accessible editions from the Royal Shakespeare Company set a new standard in Shakespearean literature for the twenty-first century.

No detailed description available for "Shakespeare Reread".

After being widely portrayed as a virulent racist and a traitor to his city, Professor Albert Corde, dean of the faculty of Journalism, is forced to leave Chicago. Corde is ill-equipped to handle the outrage that faces him, both as the author of several articles on Chicago’s endemic corruption, and as an outspoken figure in the controversial trial of two black men charged with killing a white student. Travelling to Bucharest to visit his ailing mother-in-law, he is unable to escape the comparisons in his mind between the corrupt and dehumanizing aspects of the communist regime, and the abandoned streets of his home city. Meditating on the juxtaposition between two distant worlds, and obsessing over events that begin to unfold both in Chicago and Bucharest, he begins to concede defeat. In this tormented tale, amid the swirling forces that threaten to drown his humanity, Corde slides ever closer to the brink of desolation.