Ivo Kamps – författare

The essays in this volume interrogate the unique and often problematic relationship between early modern cultural studies and ecocriticism, providing theoretical insights and models for a future practice that successfully wed the two disciplines.

This study explores the Stuart history play, a genre often viewed as an inferior or degenerate version of the exemplary Elizabethan dramatic form. Writing in the shadow of Marlowe and Shakespeare, Stuart playwrights have traditionally been evaluated through the aesthetic assumptions and political concerns of the sixteenth century. Ivo Kamps's study traces the development of Jacobite drama in the radically changed literary and political environment of the seventeenth century. He shows how historiographical developments in this period materially affected the structure of the history play. As audiences became increasingly sceptical of the comparatively simple teleological narratives of the Tudor era, a demand for new ways of staging history emerged. Kamps demonstrates how Stuart drama capitalised on this new awareness of historical narrative to undermine inherited forms of literary and political authority. This book is the first sustained attempt to account for a neglected genre, and a sophisticated reading of the relationship between literature, history and political power.

This study explores the Stuart history play, a genre often viewed as an inferior or degenerate version of the exemplary Elizabethan dramatic form. Writing in the shadow of Marlowe and Shakespeare, Stuart playwrights have traditionally been evaluated through the aesthetic assumptions and political concerns of the sixteenth century. Ivo Kamps's study traces the development of Jacobite drama in the radically changed literary and political environment of the seventeenth century. He shows how historiographical developments in this period materially affected the structure of the history play. As audiences became increasingly sceptical of the comparatively simple teleological narratives of the Tudor era, a demand for new ways of staging history emerged. Kamps demonstrates how Stuart drama capitalised on this new awareness of historical narrative to undermine inherited forms of literary and political authority. This book is the first sustained attempt to account for a neglected genre, and a sophisticated reading of the relationship between literature, history and political power.

Receptive to influences of such diverse theorists as Derrida, Jameson, Foucault, Irigaray, Kristeva, Lacan and Althusser, materialist Shakespeare criticism has long since left behind the days of 'vulgar' Marxism and has emerged as a rich interpretive practice. The essays chosen for this book cover all of Shakespeare's dramatic genres and include works on King Lear, Othello, As You Like It, Measure for Measure, The Tempest, The Merchant of Venice, Henry V, Macbeth, The Taming of the Shrew and Julius Caesar. Contributors: Paul Delany; Louis Adrian Montrose; Walter Cohen; Alan Sinfield; Stephen Greenblatt; Michael D. Bristol; Katherine Eismann Maus; James R. Andreas; Robert Weimann; Graham Holderness; Lynda E. Boose; John Drakakis; Claire McEacherm; Frederic Jameson; and Ivo Kamps.

Shakespeare Left and Right brings together critics, strikingly different in their politics and methodologies, who are acutely aware of the importance of politics on literary practice and theory. Should, for example, feminist criticism be subjected to a critique by voices it construes as hostile to its political agenda? Is it possible to present a critique of feminist criticism without implicitly impeding its politics? And, in the light of recent political events should the Right pronounce the demise of Marxism as a social science and interpretive tool? The essays in Shakespeare Left and Right, first published in 1991, present a tug of war about ideology, acted out over the body of Shakespeare. Part One focuses on the challenge thrown down by Richard Levin's widely discussed "Feminist Thematics and Shakespearean Tragedy". Part Two considers these issues in relation to critical practice and the reading of specific plays. This book should be of interest to undergraduates and academics interested in Shakespeare studies.