Gothic ShakespearesJohn Drakakis, Dale Townshend Routledge, 01/12/2008 - 261 páginas 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:
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. |
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... that the late Professor Julia Briggs, whose initial endorsement of the project wewere privileged to receive, and who hadherself originally agreed to contribute an essay, was forced byillhealth to withdraw atalatestage. She wasunable to ...
... that the firstof these anthologies, William Dodd'sTheBeauties of Shakespear (1752), contained quotations and 'evaluations based uponJohnson's authority', butthat by 1818 the contextual apparatus had been removed (de Grazia 1991:
... that the tempest intheplay was 'amere supernatural effect,without even ahintof any supernatural agency; a prodigywithout any circumstance mentioned that is prodigious; and a miracle introduced withoutaground, and endingwithout a result ...
... thatthe original, lowlife incident has been wholly erased by this exercise in “heightening”' that began with Shakespeare's description. Transposed intoa Coleridgean language,thepassage describing Ophelia's deathis the product of the ...
... that The Castle of Otranto was an improvement on Hamlet in exactly the same way thatcontemporary editors sought to 'improve' the detail of Shakespearean texts? Bate's opportunistic negotiation ofthe imitation /quotation ...