John Drakakis – författare

A wide-ranging selection from the most recent criticism of Antony and Cleopatra, beginning with seminal work from the 1950s onwards, and culminating in a series of radical reappraisals of the play's content, form, and appeal to modern readers. Represented in this selection is material from the late John Danby, Terence Hawkes, Janet Adelman, Margot Heinemann, J.Neville Davies, Barbara Vincent, Ania Loomba, Phyllis Rackin, Jonathan Dollimore and Jyotsyna Singh. Together with a substantial Introduction they offer a radical reappraisal of one of Shakespeare's Major Tragedies.

A wide-ranging selection from the most recent criticism of Antony and Cleopatra, beginning with seminal work from the 1950s onwards, and culminating in a series of radical reappraisals of the play's content, form, and appeal to modern readers. Represented in this selection is material from the late John Danby, Terence Hawkes, Janet Adelman, Margot Heinemann, J.Neville Davies, Barbara Vincent, Ania Loomba, Phyllis Rackin, Jonathan Dollimore and Jyotsyna Singh. Together with a substantial Introduction they offer a radical reappraisal of one of Shakespeare's Major Tragedies.

As one of the most adventurous literary and cultural critics of his generation, Terence Hawkes’ contributions to the study of Shakespeare and the development of literary and cultural theory have been immense. His work has been instrumental in effecting a radical shift in the study of Shakespeare and of literary studies.This collection of essays by some of his closest colleagues, friends, peers, and mentees begins with an introduction by John Drakakis, outlining the profound impact that Hawkes’ work had on various areas of literary studies. It also includes a poem by Christopher Norris, who worked with Hawkes for many years at the University of Cardiff, as well as work on translation, social class, the historicist and presentist exploration of Shakespearean texts, and teaching Shakespeare in prisons.The volume features essays by former students who have gone on to establish reputations in areas beyond the study of literature, and who have contributed ground-breaking volumes to the pioneering New Accents series. It concludes with Malcolm Evans’ innovative account of the migration of semiotics into the area of business. This book is a vibrant and informative read for anyone interested in Hawkes’ unique blend of literary and cultural theory, criticism, Shakespeare studies, and presentism.

As one of the most adventurous literary and cultural critics of his generation, Terence Hawkes’ contributions to the study of Shakespeare and the development of literary and cultural theory have been immense. His work has been instrumental in effecting a radical shift in the study of Shakespeare and of literary studies.This collection of essays by some of his closest colleagues, friends, peers, and mentees begins with an introduction by John Drakakis, outlining the profound impact that Hawkes’ work had on various areas of literary studies. It also includes a poem by Christopher Norris, who worked with Hawkes for many years at the University of Cardiff, as well as work on translation, social class, the historicist and presentist exploration of Shakespearean texts, and teaching Shakespeare in prisons.The volume features essays by former students who have gone on to establish reputations in areas beyond the study of literature, and who have contributed ground-breaking volumes to the pioneering New Accents series. It concludes with Malcolm Evans’ innovative account of the migration of semiotics into the area of business. This book is a vibrant and informative read for anyone interested in Hawkes’ unique blend of literary and cultural theory, criticism, Shakespeare studies, and presentism.

When critical theory met literary studies in the 1970s and '80s, some of the most radical and exciting theoretical work centred on the quasi-sacred figure of Shakespeare. In Alternative Shakespeares, John Drakakis brought together key essays by founding figures in this movement to remake Shakespeare studies.A new afterword by Robert Weimann outlines the extraordinary impact of Alternative Shakespeares on academic Shakespeare studies. But as yet, the Shakespeare myth continues to thrive both in Stratford and in our schools. These essays are as relevant and as powerful as they were upon publication and with a contributor list that reads like a 'who's who' of modern Shakespeare studies, Alternative Shakespeares demands to be read.

When critical theory met literary studies in the 1970s and '80s, some of the most radical and exciting theoretical work centred on the quasi-sacred figure of Shakespeare. In Alternative Shakespeares, John Drakakis brought together key essays by founding figures in this movement to remake Shakespeare studies.A new afterword by Robert Weimann outlines the extraordinary impact of Alternative Shakespeares on academic Shakespeare studies. But as yet, the Shakespeare myth continues to thrive both in Stratford and in our schools. These essays are as relevant and as powerful as they were upon publication and with a contributor list that reads like a 'who's who' of modern Shakespeare studies, Alternative Shakespeares demands to be read.

Readings of Shakespeare were both influenced by and influential in the rise of Gothic forms in literature and culture from the late eighteenth century onwards. Shakespeare’s plays are full of ghosts, suspense, fear-inducing moments and cultural anxieties which many writers in the Gothic mode have since emulated, adapted and appropriated.The contributors to this volume consider:Shakespeare’s relationship with popular Gothic fiction of the eighteenth centuryhow, without Shakespeare as a point of reference, the Gothic mode in fiction and drama may not have developed and evolved in quite the way it didthe ways in which the Gothic engages in a complex dialogue with Shakespeare, often through the use of quotation, citation and analogythe extent to which the relationship between Shakespeare and the Gothic requires a radical reappraisal in the light of contemporary literary theory, as well as the popular extensions of the Gothic into many modern modes of representation.In Gothic Shakespeares, Shakespeare is considered alongside major Gothic texts and writers – from Horace Walpole, Ann Radcliffe, Matthew Lewis and Mary Shelley, up to and including contemporary Gothic fiction and horror film. This volume offers a highly original and truly provocative account of Gothic reformulations of Shakespeare, and Shakespeare’s significance to the Gothic.Contributors include: Fred Botting, Elizabeth Bronfen, Glennis Byron, Sue Chaplin, Steven Craig, John Drakakis, Michael Gamer, Jerrold Hogle, Peter Hutchings, Robert Miles, Dale Townshend, Scott Wilson and Angela Wright.

Readings of Shakespeare were both influenced by and influential in the rise of Gothic forms in literature and culture from the late eighteenth century onwards. Shakespeare’s plays are full of ghosts, suspense, fear-inducing moments and cultural anxieties which many writers in the Gothic mode have since emulated, adapted and appropriated.The contributors to this volume consider:Shakespeare’s relationship with popular Gothic fiction of the eighteenth centuryhow, without Shakespeare as a point of reference, the Gothic mode in fiction and drama may not have developed and evolved in quite the way it didthe ways in which the Gothic engages in a complex dialogue with Shakespeare, often through the use of quotation, citation and analogythe extent to which the relationship between Shakespeare and the Gothic requires a radical reappraisal in the light of contemporary literary theory, as well as the popular extensions of the Gothic into many modern modes of representation.In Gothic Shakespeares, Shakespeare is considered alongside major Gothic texts and writers – from Horace Walpole, Ann Radcliffe, Matthew Lewis and Mary Shelley, up to and including contemporary Gothic fiction and horror film. This volume offers a highly original and truly provocative account of Gothic reformulations of Shakespeare, and Shakespeare’s significance to the Gothic.Contributors include: Fred Botting, Elizabeth Bronfen, Glennis Byron, Sue Chaplin, Steven Craig, John Drakakis, Michael Gamer, Jerrold Hogle, Peter Hutchings, Robert Miles, Dale Townshend, Scott Wilson and Angela Wright.

There has been little serious attempt in Britain to deal critically and historically with the subject of radio drama. This volume of essays concentrates upon a small group of influential writers who have devoted all or part of their attention to writing plays for radio. The introduction charts the development of radio drama since its inception in the 1920s and its changing relationships with the theatre and later with television. It shows how the early ideal of broadcasting significant works of established literature and drama helped to provide a broad foundation for the growth of a body of dramatic literature which fully exploited the medium's reliance upon sound alone. Separate contributions contain full appraisals of the radio writing of Louis MacNeice, Dylan Thomas and Henry Reed, while detailed studies of particular aspects of the work of Dorothy L. Sayers, Susan Hill, Giles Cooper and Samuel Beckett explore the practical as well as the critical issues involved in the study of radio drama.

The outlines of contemporary critical theory are now often taught as a standard feature of a degree in literary studies. This text aims to explore the theoretical issues and conflicts embodied in the essays selected and locates areas of disagreement between positions.

A collection of documents relating to the literary theme of tragedy, illustrating the foundations of contemporary thinking on the subject and reflecting the continuing debate on the subject. In the LONGMAN CRITICAL READER series.

Tragedy is one of the oldest and most resilient forms of narrative. Considering texts from ancient Greece to the present day, this comprehensive introduction shows how tragedy has been re-imagined and redefined throughout Western cultural history.Tragedy offers a concise history of tragedy tracing its evolution through key plays, prose, poetry and philosophical dimensions. John Drakakis examines a wealth of popular plays, including works from the ancient Greeks, Shakespeare, Bertolt Brecht, Sarah Kane and Tom Stoppard. He also considers the rewriting and appropriating of ancient drama though a wide range of authors, such as Chaucer, George Eliot, Ted Hughes and Colm Tóibín. Drakakis also demystifies complex philosophical interpretations of tragedy, including those of Hegel, Kierkegaard, Nietzsche and Benjamin.This accessible resource is an invaluable guide for anyone studying tragedy in literature or theatre studies.

Tragedy is one of the oldest and most resilient forms of narrative. Considering texts from ancient Greece to the present day, this comprehensive introduction shows how tragedy has been re-imagined and redefined throughout Western cultural history.Tragedy offers a concise history of tragedy tracing its evolution through key plays, prose, poetry and philosophical dimensions. John Drakakis examines a wealth of popular plays, including works from the ancient Greeks, Shakespeare, Bertolt Brecht, Sarah Kane and Tom Stoppard. He also considers the rewriting and appropriating of ancient drama though a wide range of authors, such as Chaucer, George Eliot, Ted Hughes and Colm Tóibín. Drakakis also demystifies complex philosophical interpretations of tragedy, including those of Hegel, Kierkegaard, Nietzsche and Benjamin.This accessible resource is an invaluable guide for anyone studying tragedy in literature or theatre studies.

This wide-ranging and unique collection of documents on one of the most enduring of literary genres, Tragedy, offers a radical revaluation of its significance in the light of the critical attention that it has received during the past one-hundred and fifty years. The foundations of much contemporary thinking about Tragedy are to be found in the writings of Hegel, Nietzsche, and Kierkegaard; in addition, the dialectical tradition emanating from Marxism, and the psycho-analytical writings of Freud, have extended significantly the horizons of the subject. With the explosion of interest in the areas of post-structuralism, sociology of culture, social anthropology, feminism, deconstruction, and the study of ritual, new questions are being asked about this persistent artistic exploration of human experience. This book seeks to represent a full selection of these divergent interests, in a series of substantial extracts which display the continuing richness of the debate about a genre which has provoked, and challenged categorical discussion since the appearance of Aristotle's Poetics.

Shakespearean Tragedy brings together fifteen major contemporary essays on individual plays and the genre as a whole. Each piece has been carefully chosen as a key intervention in its own right and as a representative of an influential critical approach to the genre. The collection as a whole, therefore, provides both a guide and explanation to the various ways in which contemporary criticism has determined our understanding of the tragedies, and the opportunity for assessing the wider issues such criticism raises.The collection begins by considering the impact of social semiotics on approaches to the tragedies, before moving on to deal, in turn, with the various forms of Marxist criticism, New Historicism, Cultural Materialism, Feminism, Psychoanalysis, and Poststructuralism.

Geoffrey Bullough’s The Narrative and Dramatic Sources of Shakespeare (1957-75) established a vocabulary and a method for linking Shakespeare’s plays with a series of texts on which they were thought to be based. Shakespeare’s Resources revisits and interrogates the methodology that has prevailed since then and proposes a number of radical departures from Bullough’s model. The tacitly accepted linear model of ‘source’ and ‘influence’ that critics and scholars have wrestled with is here reconceptualised as a dynamic process in which texts interact and generate meanings that domesticated versions of intertextuality do not adequately account for. The investigation uncovers questions of exactly how Shakespeare ‘read’, what he read, the practical conditions in which narratives were encountered, and how he re-deployed earlier versions that he had used in his later work.

Geoffrey Bullough’s The Narrative and Dramatic Sources of Shakespeare (1957-75) established a vocabulary and a method for linking Shakespeare’s plays with a series of texts on which they were thought to be based. Shakespeare’s Resources revisits and interrogates the methodology that has prevailed since then and proposes a number of radical departures from Bullough’s model. The tacitly accepted linear model of ‘source’ and ‘influence’ that critics and scholars have wrestled with is here reconceptualised as a dynamic process in which texts interact and generate meanings that domesticated versions of intertextuality do not adequately account for. The investigation uncovers questions of exactly how Shakespeare ‘read’, what he read, the practical conditions in which narratives were encountered, and how he re-deployed earlier versions that he had used in his later work.

The Merchant of Venice is perhaps most associated not with its titular hero, Antonio, but with the complex figure of the money lender, Shylock. The play was described as a comedy in the First Folio but its modern audiences find it more problematic to categorise. The vilification of Shylock 'the Jew' can be very uncomfortable for a post-holocaust audience and debates continue as to whether Shakespeare's portrayal of this complex man is sympathetic or anti-semitic.John Drakakis' comprehensive introduction traces the stage history of the figure of the Jew and looks boldly at twenty-first century issues surrounding it. He also explores other themes of the play such as father/daughter relations, the power of money and the forceful character of Portia, to offer readers an energetic, original and revelatory reading of this challenging play.

The Merchant of Venice is perhaps most associated not with its titular hero, Antonio, but with the complex figure of the money lender, Shylock. The play was described as a comedy in the First Folio but its modern audiences find it more problematic to categorise. The vilification of Shylock 'the Jew' can be very uncomfortable for a post-holocaust audience and debates continue as to whether Shakespeare's portrayal of this complex man is sympathetic or anti-semitic.John Drakakis' comprehensive introduction traces the stage history of the figure of the Jew and looks boldly at twenty-first century issues surrounding it. He also explores other themes of the play such as father/daughter relations, the power of money and the forceful character of Portia, to offer readers an energetic, original and revelatory reading of this challenging play.