Julia Reinhard Lupton – författare

Who is a citizen? What is a person? Who is my neighbor? These fundamental questions about group membership and social formation have been posed repeatedly in political and religious discourses. Citizen-Saint uses keys works by Shakespeare, Marlowe, and Milton to examine the aims, limits, and legacies of classic and modern citizenship in Western literature. Turning to the potent idea of political theology to recover the strange mix of political and religious thinking during the Renaissance, Julia Reinhard Lupton unveils the figure of the citizensaint, who represents at once divine messenger and civil servant, both norm and exception. Embodied by such diverse personages as Antigone, Paul, Barabbas, Shylock, Othello, Caliban, Isabella, and Samson, the citizen-saint is a sacrificial figure: a model of moral and aesthetic extremity that inspires new regimes of citizenship with his or her traumatic passage into the public sphere. And these scenes of civic entry ultimately dramatize the literature of citizenship in both its evident impasses and its enduring potential.

Great halls and hovels, dove-houses and sheepcotes, mountain cells and seaside shelters—these are some of the spaces in which Shakespearean characters gather to dwell, and to test their connections with one another and their worlds. Julia Reinhard Lupton enters Shakespeare’s dwelling places in search of insights into the most fundamental human problems.  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.

Political theology is a distinctly modern problem, one that takes shape in some of the most important theoretical writings of the twentieth and twenty-first centuries. But its origins stem from the early modern period, in medieval iconographies of sacred kinship and the critique of traditional sovereignty mounted by Hobbes and Spinoza. In this book, Graham Hammill and Julia Reinhard Lupton assemble established and emerging scholars in early modern studies to examine the role played by sixteenth- and seventeenth-century literature and thought in modern conceptions of political theology. "Political Theology and Early Modernity" explores texts by Shakespeare, Machiavelli, Milton, and others that have served as points of departure for such thinkers as Schmitt, Strauss, Benjamin, and Arendt. Written from a spectrum of positions ranging from renewed defenses of secularism to attempts to reconceive the religious character of collective life and literary experience, these essays probe moments of productive conflict, disavowal, and entanglement in politics and religion as they pass between early modern and modern scenes of thought.This stimulating collection is the first to show not only how Renaissance and baroque literature help explain the persistence of political theology in modernity and postmodernity, but also how the reemergence of political theology deepens our understanding of the early modern period.

Great halls and hovels, dove-houses and sheepcotes, mountain cells and seaside shelters—these are some of the spaces in which Shakespearean characters gather to dwell, and to test their connections with one another and their worlds. Julia Reinhard Lupton enters Shakespeare’s dwelling places in search of insights into the most fundamental human problems.  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.

What is a person? What company do people keep with animals, plants, and things? Such questions—bearing fundamentally on the shared meaning of politics and life—animate Shakespearean drama, yet their urgency has often been obscured. Julia Reinhard Lupton gently dislodges Shakespeare’s plays from their historical confines to pursue their universal implications. From Petruchio’s animals and Kate’s laundry to Hamlet’s friends and Caliban’s childhood, Lupton restages thinking in Shakespeare as an embodied act of consent, cure, and care. Thinking with Shakespeare encourages readers to ponder matters of shared concern with the playwright by their side. Taking her cue from Hannah Arendt, Lupton reads Shakespeare for fresh insights into everything from housekeeping and animal husbandry to biopower and political theology.

This book examines the ways in which the literary genre of hagiography and the hermeneutical paradigm of Biblical typology together entered into the construction of "the Renaissance" as a canon and period. It is not about saints' lives in themselves, as either literary or historical phenomena, but instead addresses the structural effects of hagiography in the secular literature of the Renaissance.The central texts analyzed—Boccaccio's Decameron, Vasari's Lives of the Artists, and Shakespeare's Measure for Measure and The Winter's Tale—all manifest key moments and aspects in the creation of a Renaissance canon for the post-Renaissance world. The epochal significance of these works, saturated in religious allusions as well as scenes of profane life and classical art, is shown to rest in neither the normative piety nor the subversive heresy of any of these writers, but rather in their crafting of myths of modernity precisely out of the religious material that formed such an important part of their daily vocabularies.

This volume maps Shakespearean virtue in all its plasticity and variety, providing thirty-eight succinct, wide-ranging essays that reveal a breadth and diversity exceeding any given morality or code of behaviour. Clearly explaining key concepts in the history of ethics and in classical, theological, and global virtue traditions, the collection reveals their presence in the works of Shakespeare in interpersonal, civic, and ecological scenes of action. Paying close attention to individual identity and social environment, chapters also consider how the virtuous horizons broached in Shakespearean drama have been tested anew by the plays' global travels and fresh encounters with different traditions. Including sections on global wisdom, performance and pedagogy, this handbook affirms virtue as a resource for humanistic education and the building of human capacity.

Romeo and Juliet is the most produced, translated and re-mixed of all of Shakespeare’s plays. This volume takes up the iconographic, linguistic and performance layers already at work within it and tracks the play’s dispersal into neighbouring art forms – including ballet, opera, television and architecture – and geographical locations, including Italy, Ireland, France, India and Korea.Chapters trace Shakespeare's own acts of adaptation and appropriation of sources and the play's subsequent migrations into other media. Part One considers reworkings of Romeo and Juliet in Hector Berlioz's 1839 choral symphony and ballets choreographed by Sir Kenneth MacMillan and John Neumeier. Part Two explores the afterlives of Shakespeare’s lovers in the narrative forms of fiction, film and serial television, including works by James Joyce, Samuel Beckett and HBO's series Westworld.Part Three examines dramatic adaptations of the play into other languages, dialects and cultural contexts. Authors consider Hindi translations and the complex and changing status of Shakespeare's work in India, as well as productions of the play in Korea set against its evolving history. The volume ends with a first-person account of staging Romeo and Juliet at an HBCU (historically Black college/university), documenting the tensions between the notion of Shakespeare as a universal author and the lived experiences of marginalized communities as they engage with his plays.

Romeo and Juliet is the most produced, translated and re-mixed of all of Shakespeare’s plays. This volume takes up the iconographic, linguistic and performance layers already at work within it and tracks the play’s dispersal into neighbouring art forms – including ballet, opera, television and architecture – and geographical locations, including Italy, Ireland, France, India and Korea.Chapters trace Shakespeare's own acts of adaptation and appropriation of sources and the play's subsequent migrations into other media. Part One considers reworkings of Romeo and Juliet in Hector Berlioz's 1839 choral symphony and ballets choreographed by Sir Kenneth MacMillan and John Neumeier. Part Two explores the afterlives of Shakespeare’s lovers in the narrative forms of fiction, film and serial television, including works by James Joyce, Samuel Beckett and HBO's series Westworld.Part Three examines dramatic adaptations of the play into other languages, dialects and cultural contexts. Authors consider Hindi translations and the complex and changing status of Shakespeare's work in India, as well as productions of the play in Korea set against its evolving history. The volume ends with a first-person account of staging Romeo and Juliet at an HBCU (historically Black college/university), documenting the tensions between the notion of Shakespeare as a universal author and the lived experiences of marginalized communities as they engage with his plays.

This volume interweaves Shakespeare's wisdom with ancient spiritual practices and the insights of a post-secular age in order to explore a transhistorical space of sapient knowing and living. Pursuing the delight of heart, soul and understanding in the synaesthetic experience of theatre and the meditative space of poetry, sapiential Shakespeare explores knowledge, love, beauty, nature, will and power in conversation with multiple wisdom traditions, tapping into a global sensus communis rooted in energetic knowing-with. This collection of essays begins in the Mediterranean with classical, biblical and Egyptian wisdom, moves to the East to consider Sufi and Buddhist wisdom and then turns to the West to reflect on Indigenous science and ways of knowing. Sharing a common root in oikos, meaning home, the ecumenical and the ecological converge in an embodied ethics and politics of care premised in an ecological rather than ego-logical way of being.

This volume interweaves Shakespeare’s wisdom with ancient spiritual practices and the insights of a post-secular age in order to explore a transhistorical space of sapient knowing and living. Pursuing the delight of heart, soul and understanding in the synaesthetic experience of theatre and the meditative space of poetry, sapiential Shakespeare explores knowledge, love, beauty, nature, will and power in conversation with multiple wisdom traditions, tapping into a global sensus communis rooted in energetic knowing-with. This collection of essays begins in the Mediterranean with classical, biblical and Egyptian wisdom, moves to the East to consider Sufi and Buddhist wisdom and then turns to the West to reflect on Indigenous science and ways of knowing. Sharing a common root in oikos, meaning home, the ecumenical and the ecological converge in an embodied ethics and politics of care premised in an ecological rather than ego-logical way of being.

Uniquely, this guide analyses the play’s critical and performance history and recent criticism, as well as including five essays offering radically new paths for contemporary interpretation.The subject matter of these essays is rich and diverse, ranging across the play’s philosophical identification of sexual love with self-realization, the hermeneutic implications of an editor’s textual choices, the minor characters of the play in relation to Renaissance performance traditions, Romeo and Juliet in opera and ballet, and the play’s Italian sources and afterlives.The guide also contains a chapter on the key resources available, including scholarly editions and easily available DVDs, and discusses the ways in which they can be used in the classroom to aid understanding and provoke further debate. Edited by leading scholar Julia Reinhard Lupton, this is an essential guide for both students and scholars of Shakespeare.

Uniquely, this guide analyses the play’s critical and performance history and recent criticism, as well as including five essays offering radically new paths for contemporary interpretation.The subject matter of these essays is rich and diverse, ranging across the play’s philosophical identification of sexual love with self-realization, the hermeneutic implications of an editor’s textual choices, the minor characters of the play in relation to Renaissance performance traditions, Romeo and Juliet in opera and ballet, and the play’s Italian sources and afterlives.The guide also contains a chapter on the key resources available, including scholarly editions and easily available DVDs, and discusses the ways in which they can be used in the classroom to aid understanding and provoke further debate. Edited by leading scholar Julia Reinhard Lupton, this is an essential guide for both students and scholars of Shakespeare.

Explores the drama of proximity and co-presence in Shakespeare’s playsKey FeaturesBrings together the rare pairing of philosophical ethics and performance studies in Shakespeare’s playsEngages with the thought of philosophers including Ludwig Wittgenstein, Hannah Arendt, Paul Ricoeur, Stanley Cavell, and Emmanuel LevinasThis book celebrates the theatrical excitement and philosophical meanings of human interaction in Shakespeare. On stage and in life, the face is always window and mirror, representation and presence. It examines the emotional and ethical surplus that appears between faces in the activity and performance of human encounter on stage. By transitioning from face as noun to verb – to face, outface, interface, efface, deface, sur-face – chapters reveal how Shakespeare's plays discover conflict, betrayal and deception as well as love, trust and forgiveness between faces and the bodies that bear them.

Explores the drama of proximity and co-presence in Shakespeare’s playsKey FeaturesBrings together the rare pairing of philosophical ethics and performance studies in Shakespeare’s playsEngages with the thought of philosophers including Ludwig Wittgenstein, Hannah Arendt, Paul Ricoeur, Stanley Cavell, and Emmanuel LevinasThis book celebrates the theatrical excitement and philosophical meanings of human interaction in Shakespeare. On stage and in life, the face is always window and mirror, representation and presence. It examines the emotional and ethical surplus that appears between faces in the activity and performance of human encounter on stage. By transitioning from face as noun to verb – to face, outface, interface, efface, deface, sur-face – chapters reveal how Shakespeare's plays discover conflict, betrayal and deception as well as love, trust and forgiveness between faces and the bodies that bear them.

Presents Shakespeare's theatre as a powerful forum for shaping our capacity for virtueOpens virtue ethics to new political and ecological stakes by building bridges between ancient philosophy, contemporary virtue ethics and Shakespeare's dramaDemonstrates the semantic, pragmatic, and phenomenological range of virtue in Shakespeare's plays and dramatic practice by emphasizing the embodied, performative and deliberative dimensions of virtueOffers new readings of virtues such as courage, friendship, constancy, kindness and judgment, as staged in Shakespeare's dramaThis collection of essays explores how the Shakespearean drama enacts ancient virtues and conceptualises new ones in complex fictional scenarios that test virtues for their continuing value. Contributors approach the virtues as a source of imaginative, affective and intellectual nourishment and consider how Shakespeare's art increases our capacity for new pursuits of the good. Examining Shakespeare's virtuous theatre in tragic, comic and romance modes and from ethical, theatrical and political perspectives, this volume establishes virtue as a framework for a socially, environmentally and spiritually renewed literary criticism. Contributors balance historical depth and philosophical insight with the art of close reading as they contemplate the dynamic field of virtue embodied, responsive, energetic and dynamic as it ebbs and flows across time, among multiple wisdom traditions, and in the entangled lives and troubled circumstances of Shakespeare's characters.

This collection of essays explores how the Shakespearean drama enacts ancient virtues and conceptualises new ones in complex fictional scenarios that test virtues for their continuing value. Contributors approach the virtues as a source of imaginative, affective and intellectual nourishment and consider how Shakespeare's art increases our capacity for new pursuits of the good. Examining Shakespeare's virtuous theatre in tragic, comic and romance modes and from ethical, theatrical and political perspectives, this volume establishes virtue as a framework for a socially, environmentally and spiritually renewed literary criticism. Contributors balance historical depth and philosophical insight with the art of close reading as they contemplate the dynamic field of virtue embodied, responsive, energetic and dynamic as it ebbs and flows across time, among multiple wisdom traditions, and in the entangled lives and troubled circumstances of Shakespeare's characters.