Modernist writers, critics, and artists sparked a fresh and distinctive interpretation of Shakespeare's plays which has proved remarkably tenacious, as Richard Halpern explains in this lively and provocative book. The preoccupations of such high modernists as T. S. Eliot, Wyndham Lewis, and James Joyce set the tone for the critical reception of Shakespeare in the twentieth century. Halpern contends their habits of thought continue to dominate "postmodern" schools of criticism that claim to have broken with the modernist legacy. Halpern addresses such topics as imperialism and modernism's cult of the primitive, the rise of mass culture, modernist anti-semitism, and the aesthetic of the machine. His discussion considers figures as diverse as Orson Welles and Arnold Schwarzenegger, and Shakespeare critics including Northrop Frye, Cleanth Brooks, Stephen Greenblatt, and Stanley Cavell. Shakespeare's works have been subjected to a continuing process of historical reinterpretation in which every new era has imposed its own cultural and ideological presuppositions on the plays. The most enduring contribution of modernism, Halpern suggests, has been the juxtaposition of an awareness of historical distance and a mapping of Shakespeare's plays onto the present. Using modernist themes and approaches, he constructs new readings of four Shakespeare plays.
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First Sentence:
One of the odder moments in the annals of bardolatry is surely supplied by Lautréamont: "Chaque fois que j'ai lu Shakspeare, il m'a semblé que je déchiqueté la cervelle d'un jaguar" ("Every time I read Shakespeare, it seemed to me that I was hacking a jaguar's brains to bits").1 Read the first page Key Phrases - Capitalized Phrases (CAPs): (learn more)
New York, Julius Caesar, The Merchant of Venice, Northrop Frye, New Critics, Orson Welles, Wyndham Lewis, King Hamlet, The Waste Land, New Historicism, Elizabethan Essays, Matthew Arnold, Natural Perspective, The Mountebanks, New Critical, Stephen Greenblatt, James Joyce, Jewish Shakespeare, New Historicists, Wilson Knight, English Renaissance, Georg Brandes, The Tempest, University of Chicago Press, Cambridge University Press New!
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Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
One of the odder moments in the annals of bardolatry is surely supplied by Lautréamont: "Chaque fois que j'ai lu Shakspeare, il m'a semblé que je déchiqueté la cervelle d'un jaguar" ("Every time I read Shakespeare, it seemed to me that I was hacking a jaguar's brains to bits").1 Read the first page Key Phrases - Capitalized Phrases (CAPs): (learn more)
New York, Julius Caesar, The Merchant of Venice, Northrop Frye, New Critics, Orson Welles, Wyndham Lewis, King Hamlet, The Waste Land, New Historicism, Elizabethan Essays, Matthew Arnold, Natural Perspective, The Mountebanks, New Critical, Stephen Greenblatt, James Joyce, Jewish Shakespeare, New Historicists, Wilson Knight, English Renaissance, Georg Brandes, The Tempest, University of Chicago Press, Cambridge University Press New!
Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
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- The Merchant of Venice (Folger Shakespeare Library) by William Shakespeare on 16 pages
- The Merchant Of Venice by William Shakespeare on 15 pages
- The Merchant of Venice (Saddleback Classics) by Emily Hutchinson on 15 pages
- Anatomy of Criticism: Four Essays by Northrop Frye on 11 pages
- Elizabethan Essays by T. S. Eliot on 10 pages
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- Scare Quotes from Shakespeare: Marx, Keynes, and the Language of Reenchantment by Martin Harries on 4 pages
- Showing Like a Queen: Female Authority and Literary Experiment in Spenser, Shakespeare, and Milton by Katherine Eggert on 4 pages
- Julius Caesar (New Casebooks) by Richard L. Wilson on 4 pages
- 'Hamlet' without Hamlet by Margreta de Grazia on 4 pages
- Local Shakespeares: Proximations and Power by Martin Orkin in Back Matter (1), Back Matter (2), and Back Matter (3)
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