By Terence Hawkes
Replacement Shakespeares, released in 1985, shook up the realm of Shakespearean stories, demythologising Shakespeare and using new theories to the learn of his paintings. substitute Shakespeares: quantity 2 investigates Shakespearean feedback over a decade later, introducing new debates and new theorists into the body. either verified students and new names look the following, offering a wide cross-section of up to date Shakespearean reviews, together with psychoanalysis, sexual and gender politics, race and new historicism. substitute Shakespeares: quantity 2 represents the vanguard of up to date Shakespearean reviews. This urgently-needed addition to a vintage paintings of literary feedback is one that academics and students will welcome.
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Additional resources for Alternative Shakespeares: Volume 2 With an afterword by John Drakakis
Ii. 247-8);3 and she does it by promising what she frequently, but not predictably, fails to deliver, by being inconsistently elsewhere. Cleopatra’s most repeated seductive strategy, in other words, is not to be where Antony might expect to find her. Sometimes this is ALTERNATIVE SHAKESPEARES 2 43 figurative, a question of her state of mind, or behaviour, as in the case where she instructs Charmian, See where he is, who's with him, what he does. I did not send you. If you find him sad, Say I am dancing; if in mirth, report That I am sudden sick… (I.
Like a god (and as empty), it can only say: I am what I am. The discourse, then, can do no more than assert the perfection of each detail and refer ‘the remainder’ to the code underlying all beauty: Art. (Barthes 1975:33) Cleopatra is like a work of art, and like Venus, goddess of love; she is like a picture of Venus, since fancy, or fantasy, can improve 46 CLEOPATRA’S SEDUCTION on nature; and yet she outdoes all these possibilities, which is to say, she outdoes divinity, nature and art. ‘Left on its own,’ Barthes continues, deprived of any anterior code, beauty would be mute.
90-92). When he summons her to attend him on land, she appears on water, her barge seducing the winds, the river itself and all her subjects, leaving Antony in command of an empty town: The city cast Her people out upon her, and Antony, Enthron’d i'th’ market-place, did sit alone, Whistling to th’ air; which, but for vacancy, Had gone to gaze on Cleopatra, too, And made a gap in nature. (II. ii. 223-8) By drawing everything to herself, she emblematically isolates Antony in an absence which precipitates desire.
Alternative Shakespeares: Volume 2 With an afterword by John Drakakis by Terence Hawkes