Shakespeare and the Mediterranean 1: Romeo and Juliet


Book Description

The Mediterranean of Shakespeare’s dramas is a vast geopolitical space. Historically, it spans from the Trojan war to Greek mythology and the ancient Roman empire; geographically, from Venice and Sicily to Cyprus and Turkey, from Greece to Egypt, the Middle East and North Africa. But it is also the Mediterranean of Renaissance Italian cities and Romeo and Juliet is a beautiful example of how exotic frontiers for an English gaze may be replaced by closer yet different cultural Mediterranean frames. The volume offers studies on the circulation of the story of Romeo and Juliet and its ancient archetypes in early modern Europe, from Greece to Italy, France and Spain, as well as on contemporary receptions and performances of Shakespeare’s play in Sicily, the Balkans, Israel and Jordan.




Shakespeare and the Mediterranean


Book Description

Shakespeare's career-long fascination with the Mediterranean made the association a natural one for this first World Shakespeare Congress of the Third Millennium. The plenary lectures and selected papers in this volume represent some of the best contemporary thought and writing on Shakespeare, in the ranging plenary lectures by Jonathan Bate on Shakespeare's islands and the Muslim connection, Michael Coveney's on the late Sir John Gielgud, Robert Ellrodt's on Shakespeare's sonnets and Montaigne's essays, Stephen Orgel's on Shakespeare's own Shylock, and Marina Warner's on Shakespeare's fairy-tale uses of magic. Also included in the volume's several sections are original pagers selected from special sessions and seminars by other distinguished writers, including Jean E. Howard, Gary Taylor, and Richard Wilson. Tom Clayton is Regents' Professor of English Language and Literature and chair of the Classical Civilization Program at the University of Minnesota. Susan Brock is Head of Library and Information Resources at the Shakespeare Birthplace Trust in Stratford-upon-Avon and Honorary Fellow of the Shakespeare Institute of the University of Birmingham. Vicente Fores is Associate Profe




Consent in Shakespeare


Book Description

By examining how female characters speak and act during coming of age, engagement, marriage, and intimacy, 'Consent in Shakespeare' will enhance understanding about how and why women spoke, remained silent, or acted as they did in relation to their intimate partners in Early Modern and contemporary private and public situations in and around the Mediterranean. Consent in intimate relationships is front and center in the today's conversations. In this study, how Shakespeare's female protagonists and supporting characters respond verbally and physically in Shakespeare's comedies and sources from which he derived his plays in and around Mediterranean call for a re-examination of women's roles in Early Modern and contemporary cultures. This re-examination of the words that women say or do not say, and actions that women do or do not take, in Shakespeare's Mediterranean plays and his probable sources shed light on how Shakespeare's audiences might have perceived the Mediterranean cultural mores and norms. Assessment of source materials for Shakespeare's comedies set in the Balkans, France, Italy, the Near East, North Africa, and Spain suggests how women of diverse backgrounds communicated in everyday life and peak life experiences in the Early Modern era. Given Shakespeare's impact worldwide, this initiative to shift the conversation about the power of consent of female protagonists and supporting characters in Shakespeare's Mediterranean plays will further transform conversations about consent in class, board and conference rooms, and the international stage.




Revisiting Shakespeare’s Italian Resources


Book Description

Revisiting Shakespeare’s Italian Resources is about the complex dynamics of transmission and transformation of the Italian sources of twelve Shakespearean plays, from The Two Gentlemen of Verona to Cymbeline. It focuses on the works of Sir Giovanni Fiorentino, Da Porto, Bandello, Ariosto, Dolce, Pasqualigo, and Groto, as well as on commedia dell’arte practices. This book discusses hitherto unexamined materials and revises received interpretations, disclosing the relevance of memorial processes within the broad field of intertextuality vis-à-vis conscious reuses and intentional practices.




Shakespeare's Rome


Book Description

For more than forty years, Paul Cantor’s Shakespeare’s Rome has been a foundational work in the field of politics and literature. While many critics assumed that the Roman plays do not reflect any special knowledge of Rome, Cantor was one of the first to argue that they are grounded in a profound understanding of the Roman regime and its changes over time. Taking Shakespeare seriously as a political thinker, Cantor suggests that his Roman plays can be profitably studied in the context of the classical republican tradition in political philosophy. In Shakespeare’s Rome, Cantor examines the political settings of Shakespeare’s Roman plays, Coriolanus and Antony and Cleopatra, with references as well to Julius Caesar. Cantor shows that Shakespeare presents a convincing portrait of Rome in different eras of its history, contrasting the austere republic of Coriolanus, with its narrow horizons and martial virtues, and the cosmopolitan empire of Antony and Cleopatra, with its “immortal longings” and sophistication bordering on decadence.




Shakespeare's Roman Trilogy


Book Description

Paul A. Cantor first probed Shakespeare’s Roman plays—Coriolanus, Julius Caeser, and Antony and Cleopatra—in his landmark Shakespeare’s Rome (1976). With Shakespeare’s Roman Trilogy, he now argues that these plays form an integrated trilogy that portrays the tragedy not simply of their protagonists but of an entire political community. Cantor analyzes the way Shakespeare chronicles the rise and fall of the Roman Republic and the emergence of the Roman Empire. The transformation of the ancient city into a cosmopolitan empire marks the end of the era of civic virtue in antiquity, but it also opens up new spiritual possibilities that Shakespeare correlates with the rise of Christianity and thus the first stirrings of the medieval and the modern worlds. More broadly, Cantor places Shakespeare’s plays in a long tradition of philosophical speculation about Rome, with special emphasis on Machiavelli and Nietzsche, two thinkers who provide important clues on how to read Shakespeare’s works. In a pathbreaking chapter, he undertakes the first systematic comparison of Shakespeare and Nietzsche on Rome, exploring their central point of contention: Did Christianity corrupt the Roman Empire or was the corruption of the Empire the precondition of the rise of Christianity? Bringing Shakespeare into dialogue with other major thinkers about Rome, Shakespeare’s Roman Trilogy reveals the true profundity of the Roman Plays.




Shakespeare's Cross-Cultural Encounters


Book Description

In this highly entertaining study, De Sousa argues that Shakespeare reinterprets, refashions and reinscribes his alien characters - Jews, Moors, Amazons and gypsies. In this way, the dramatist questions the narrowness of a European perspective which caricatures other societies and views them with suspicion. De Sousa examines how Shakespeare defines other cultures in terms of the interplay of gender, text and habitat. Written in a provocative style, this readable book provides a wealth of fascinating information both on contemporary stage productions and on race and gender relations in early modern Europe.




At the Bottom of Shakespeare’s Ocean


Book Description

We need a poetic history of the ocean, and Shakespeare can help us find one. There's more real salt in the plays than we might expect. Shakespeare's dramatic ocean spans the God-sea of the ancient world and the immense blue vistas that early modern mariners navigated. Throughout his career, from the opening shipwrecks of The Comedy of Errors through The Tempest, Shakespeare's plays figure the ocean as shocking physical reality and mind-twisting symbol of change and instability. To fathom Shakespeare's ocean - to go down to its bottom - this book's chapters focus on different things that humans do with and in and near the sea: fathoming, keeping watch, swimming, beachcombing, fishing, and drowning. Mentz also sets Shakespeare's sea-poetry against modern literary sea-scapes, including the vast Pacific of Moby-Dick, the rocky coast of Charles Olson's Maximus Poems, and the lyrical waters of the postcolonial Caribbean. Uncovering the depths of Shakespeare's maritime world, this book draws out the centrality of the sea in our literary culture.




A Brief History of the Mediterranean


Book Description

A wonderfully concise and readable, yet comprehensive, history of the Mediterranean Sea, the perfect companion for any visitor -- or indeed, anyone compelled to stay at home. 'The grand object of travelling is to see the shores of the Mediterranean.' Samuel Johnson, 1776 The Mediterranean has always been a leading stage for world history; it is also visited each year by tens of millions of tourists, both local and international. Jeremy Black provides an account in which the experience of travel is foremost: travel for tourism, for trade, for war, for migration, for culture, or, as so often, for a variety of reasons. Travellers have always had a variety of goals and situations, from rulers to slaves, merchants to pirates, and Black covers them all, from Phoenicians travelling for trade to the modern tourist sailing for pleasure and cruising in great comfort. Throughout the book the emphasis is on the sea, on coastal regions and on port cities visited by cruise liners - Athens, Barcelona, Naples, Palermo. But it also looks beyond, notably to the other waters that flow into the Mediterranean - the Black Sea, the Atlantic, the Red Sea and rivers, from the Ebro and Rhone to the Nile. Much of western Eurasia and northern Africa played, and continues to play, a role, directly or indirectly, in the fate of the Mediterranean. At times, that can make the history of the sea an account of conflict after conflict, but it is necessary to understand these wars in order to grasp the changing boundaries of the Mediterranean states, societies and religions, the buildings that have been left, and the peoples' cultures, senses of identity and histories. Black explores the centrality of the Mediterranean to the Western experience of travel, beginning in antiquity with the Phoenicians, Minoans and Greeks. He shows how the Roman Empire united the sea, and how it was later divided by Christianity and Islam. He tells the story of the rise and fall of the maritime empires of Pisa, Genoa and Venice, describes how galley warfare evolved and how the Mediterranean fired the imagination of Shakespeare, among many artists. From the Renaissance and Baroque to the seventeenth-century beginnings of English tourism - to the Aegean, Sicily and other destinations - Black examines the culture of the Mediterraean. He shows how English naval power grew, culminating in Nelson's famous victory over the French in the Battle of the Nile and the establishment of Gibraltar, Minorca and Malta as naval bases. Black explains the retreat of Islam in north Africa, describes the age of steam navigation and looks at how and why the British occupied Cyprus, Egypt and the Ionian Islands. He looks at the impact of the Suez Canal as a new sea route to India and how the Riviera became Europe's playground. He shows how the Mediterranean has been central to two World Wars, the Cold War and ongoing conflicts in the Middle East. With its focus always on the Sea, the book looks at the fate of port cities particularly - Alexandria, Salonika and Naples.




Illyria in Shakespeare’s England


Book Description

Illyria in Shakespeare’s England is the first extended study of the eastern Adriatic region, often referred to in the Renaissance by its Graeco-Roman name “Illyria,” in early modern English writing and political thought. At first glance the absence of earlier studies may not be surprising: that area may seem significant only to critics pursuing certain specialized questions about Shakespeare’s Twelfth Night, which is set in Illyria. But in fact, it is not only often misrepresented in the discussions of that play but also typically ignored in the critical conversation on English prose romances, poems, and other plays that feature Illyria or its peoples, some rarely read, others well-known, including Shakespeare’s Comedy of Errors, 2 Henry VI, Measure for Measure, and Cymbeline. Lea Puljcan Juric explores the reasons for such views by engaging with larger questions of interest to many critics who focus on subjects other than geographic regions, such as “othering,” religion, race, and the development of national identity, among other issues. She also broadens the conversation on these familiar problems in the field to include the impact of post-Renaissance notions of the Balkans on the erasure of Illyria from Shakespeare studies. Puljcan Juric studies the encounters of the English with the ancient and early modern Illyrians through their Greek and Roman heritage; geographies, histories, and travelogues, written in a variety of European polities including Illyria itself; religious conflict after the Reformation and the threat of Islam; and international politics and commerce. These considerations show how Illyria’s geopolitical position among the Ottoman Empire, Habsburg Empire and Venice, its “national” struggles as well as its cultural heterogeneity figured in English interests in the eastern Mediterranean, and informed English ideas about ethnicity, nationhood, and religion. In Shakespeare studies, however, critics have consistently cast Twelfth Night’s Illyria as a utopia, an enigma, or a substitute for England, Italy, or Greece. Arguing that twentieth-century politics and negative conceptions of the eastern Adriatic as part of “the Balkans” have underwritten this erasure of Illyria from our perspective on the field, Puljcan Juric shows how entrenched cultural hierarchies tied to elitism and colonial politics still inform our analyses of literature. She invites scholars to recognize that, for Shakespeare and his contemporaries, Illyria is the site of important socio-political and cultural struggles during the period, some shared with neighboring areas, others geographically specific, that invite dynamic historical and literary scrutiny.