Alternative Shakespears 3 (New Accents)

321 Pages·2007·1.33 MB·English

by  Dian Henderson

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2 This volume takes up the challenge embodied in its predecessors,
3 Alternative Shakespeares and Alternative Shakespeares 2: to identify
4 and explore the new, the changing, the radically “other” possibilities
5 for Shakespeare studies at our particular historical moment.
6 Alternative Shakespeares 3 introduces the strongest and most
7 innovative of the new directions emerging in Shakespearean
81 scholarship—ranging across performance studies, multimedia
9 and textual criticism, concerns of economics, science, religion, and
20 ethics—as well as the “next step” work in areas such as postcolonial
1 and queer studies that continue to push the boundaries of the field.
2 The contributors approach each topic with clarity and accessibility
3 in mind, enabling student readers to engage with serious “alterna-
4 tives” to established ways of interpreting Shakespeare’s plays and
5 their role in contemporary culture.
6 The expertise, commitment and daring of this volume’s contribu-
7 tors shine through each essay, maintaining the progressive
8 edge and real-world urgency that are the hallmark of Alternative
9 Shakespeares. This volume is essential reading for students and
30 scholars of Shakespeare who seek an understanding of current
1 and future directions in this ever-changing field.
2 Contributors include: Kate Chedgzoy, Mary Thomas Crane, Lukas
3 Erne, Diana E. Henderson, Rui Carvalho Homem, Julia Reinhard
4 Lupton, Willy Maley, Patricia Parker, Shankar Raman, Katherine
5 Rowe, Robert Shaughnessy and W. B. Worthen.
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711 Diana E. Henderson is Professor of Literature at MIT.
11 IN THE SAME SERIES
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Alternative Shakespeares ed. John Drakakis
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Alternative Shakespeares: Volume 2 ed. Terence Hawkes
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Alternative Shakespeares 3 ed. Diana E. Henderson
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Critical Practice Catherine Belsey
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Deconstruction: Theory and Practice Christopher Norris
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Dialogue and Difference: English for the Nineties ed. Peter Brooker
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and Peter Humm
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The Empire Writes Back: Theory and Practice in Post-Colonial
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Literature Bill Ashcroft, Gareth Griffiths and Helen Tiffin
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Fantasy: The Literature of Subversion Rosemary Jackson
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Dialogism: Bakhtin and his World Michael Holquist
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Formalism and Marxism Tony Bennett
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Making a Difference: Feminist Literacy Criticism ed. Gayle Green
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and Coppélia Kahn
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Metafiction: The Theory and Practice of Self-Conscious Fiction
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Patricia Waugh
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Narrative Fiction: Contemporary Poetics Shlomith Rimmon-Kenan
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Orality and Literacy: The Technologizing of the Word Walter J. Ong
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The Politics of Postmodernism Linda Hutcheon
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Post-Colonial Shakespeares ed. Ania Loomba and Martin Orkin
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Reading Television John Fiske and John Hartley
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The Semiotics of Theatre and Drama Keir Elam
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Sexual/Textual Politics: Feminist Literary Theory Toril Moi
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Structuralism and Semiotics Terence Hawkes
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Studying British Cultures: An Introduction ed. Susan Bassnett
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Subculture: The Meaning of Style Dick Hebdige
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Telling Stories: A Theoretical Analysis of Narrative Fiction Steven
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Cohan and Linda M. Shires
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Translation Studies Susan Bassnett
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Culture and the Real Catherine Belsey
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Alternative
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Shakespeares 3
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Edited by
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2 Diana E. Henderson
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11 First published 2008
2 by Routledge
3 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
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Simultaneously published in the USA and Canada
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by Routledge
6 270 Madison Ave, New York, NY 10016
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This edition published in the Taylor & Francis e-Library, 2007.
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9 “To purchase your own copy of this or any of Taylor & Francis or Routledge’s
collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.”
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1 Routledge is an imprint of the Taylor & Francis Group, an informa business
2 Editorial material and selection © 2008 Diana E. Henderson
3 Individual chapters © 2008 the contributors
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All rights reserved. No part of this book may be reprinted or
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reproduced or utilized in any form or by any electronic,
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mechanical, or other means, now known or hereafter
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invented, including photocopying and recording, or in any
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information storage or retrieval system, without permission in
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writing from the publishers.
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British Library Cataloguing in Publication Data
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A catalogue record for this book is available from the British Library
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3 Library of Congress Cataloging in Publication Data
4 Alternative Shakespeares 3/edited by Diana E. Henderson
5 p. cm. — (New accents)
6 Includes bibliographical references and index.
7 1. Shakespeare, William, 1564–1616—Criticism and interpretation.
8 I. Henderson, Diana E., 1957–
9 PR2976.A644 2007
822.3’3–dc22 2007018248
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ISBN 0-203-93409-1 Master e-book ISBN
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4 ISBN10: 0–415–42332–5 (hbk)
5 ISBN10: 0–415–42333–3 (pbk)
6 ISBN10: 0–203–93409–1 (ebk)
711 ISBN13: 978–0–415–42332–8 (hbk)
ISBN13: 978–0–415–42333–5 (pbk)
ISBN13: 978–0–203–93409–8 (ebk)
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10 CONTENTS
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81 GENERAL EDITOR’S PREFACE vii
9 NOTES ON CONTRIBUTORS ix
20 ACKNOWLEDGMENTS x
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2 1 Introduction 1
3 Diana E. Henderson
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5 2 “I do, I will”: Hal, Falstaff and the Performative 14
6 Robert Shaughnessy
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8 3 Medium-Specificity and Other Critical Scripts for
9 Screen Shakespeare 34
30 Katherine Rowe
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2 4 Shakespeare 3.0: Or Text Versus Performance,
3 the Remix 54
4 W. B. Worthen
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6 5 Shakespeare for Readers 78
711 Lukas Erne
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11 6 Cutting Both Ways: Bloodletting, Castration/
2 Circumcision, and the “Lancelet” of The Merchant
3 of Venice 95
4 Patricia Parker
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7 Cymbeline, the Font of History, and the Matter of
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Britain: From Times New Roman to Italic Type 119
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Willy Maley
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8 Playing with Cupid: Gender, Sexuality, and
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Adolescence 138
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Kate Chedgzoy
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3 9 Death by Numbers: Counting and Accounting in
4 The Winter’s Tale 158
5 Shankar Raman
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10 Hamlet, Prince: Tragedy, Citizenship, and Political
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Theology 181
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Julia Reinhard Lupton
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20 11 Memory, Ideology, Translation: King Lear Behind
1 Bars and Before History 204
2 Rui Carvalho Homem
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4 12 The Materiality of the Scholarly Text: What Our
5 Books Reveal About Us 221
6 Mary Thomas Crane
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13 Alternative Collaborations: Shakespeare, Nahum Tate,
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Our Academy, and the Science of Probability 243
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Diana E. Henderson
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1 14 Afterword
2 Alternativity at the Theatrical Core: A Conversation
3 with Michael Boyd, Artistic Director of the Royal
4 Shakespeare Company 264
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6 BIBLIOGRAPHY 271
711 INDEX 301
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10 GENERAL EDITOR’S PREFACE
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81 No doubt a third General Editor’s Preface to New Accents seems hard
9 to justify. What is there left to say? Thirty years ago, the series began
20 with a very clear purpose. Its major concern was the newly perplexed
1 world of academic literary studies, where hectic monsters called
2 “Theory,” “Linguistics,” and “Politics” ranged. In particular, it aimed
3 itself at those undergraduates or beginning postgraduate students
4 who were either learning to come to terms with the new developments
5 or were being sternly warned against them.
6 New Accentsdeliberately took sides. Thus the first Preface spoke darkly,
7 in 1977, of “a time of rapid and radical social change,” of the “ero-
8 sion of the assumptions and presuppositions” central to the study of
9 literature. “Modes and categories inherited from the past,” it announced,
30 “no longer seem to fit the reality experienced by a new generation.”
1 The aim of each volume would be to “encourage rather than resist
2 the process of change” by combining nuts-and-bolts exposition of
3 new ideas with clear and detailed explanation of related conceptual
4 developments. If mystification (or downright demonization) was the
5 enemy, lucidity (with a nod to the compromises inevitably at stake
6 there) became a friend. If a “distinctive discourse of the future”
711 beckoned, we wanted at least to be able to understand it.
viii GENERAL EDITOR’S PREFACE
11 With the apocalypse duly noted, the second Preface proceeded
2 piously to fret over the nature of whatever rough beast might stagger
3 portentously from the rubble. “How can we recognise or deal with
4 the new?” it complained, reporting nevertheless the dismaying advance
5 of “a host of barely respectable activities for which we have no reassur-
6 ing names” and promising a program of wary surveillance at “the
7 boundaries of the precedented and at the limit of the thinkable.” Its
8 conclusion, “the unthinkable, after all, is that which covertly shapes
9 our thoughts,” may rank as a truism. But in so far as it offered some
10 sort of useable purchase on a world of crumbling certainties, it is not
1 to be blushed for.
2 In the circumstances, any subsequent, and surely final, effort can
3 only modestly look back, marvelling that the series is still here, and
4 not unreasonably congratulating itself on having provided an initial
5 outlet for what turned, over the years, into some of the distinctive
6 voices and topics in literary studies. But the volumes now re-presented
7 have more than a mere historical interest. As their authors indicate,
81 the issues they raised are still potent, the arguments with which they
9 engaged are still disturbing. In short, we were not wrong. Academic
20 study did change rapidly and radically to match, even to help to
1 generate, wide-reaching social changes. A new set of discourses was
2 developed to negotiate those upheavals. Nor, as new additions to the
3 series demonstrate, has the process ceased. In our deliquescent world,
4 what was unthinkable inside and outside the academy all those years
5 ago now seems regularly to come to pass.
6 Whether the New Accentsvolumes provided—and provide—adequate
7 warning of, maps for, guides to, or nudges in the direction of this
8 new terrain is scarcely for me to say. Perhaps our best achievement
9 lay in cultivating the sense that it was there. The only justification
30 for a reluctant third attempt at a Preface is the belief that it still is.
1 TERENCE HAWKES
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10 CONTRIBUTORS
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7 Michael Boyd Artistic Director, Royal Shakespeare Company
81 Rui Carvalho Homem Professor of Anglo-American Studies,
9 University of Oporto
20 Kate Chedgzoy Professor of Renaissance Literature,
1 University of Newcastle
2 Mary Thomas Crane Professor of English, Boston College
3 Lukas Erne Professor of English, Université de Genève
4 Diana E. Henderson Professor of Literature, Massachusetts
5 Institute of Technology
6 Julia Reinhard Lupton Professor of English and Comparative
7 Literature, University of California, Irvine
8 Willy Maley Professor of English Literature, University
9 of Glasgow
30 Patricia Parker Professor of English and Comparative
1 Literature, Stanford University
2 Shankar Raman Associate Professor of Literature,
3 Massachusetts Institute of Technology
4 Katherine Rowe Professor of English, Bryn Mawr College
5 Robert Shaughnessy Professor of Drama and Theatre Studies,
6 University of Canterbury at Kent
711 W. B. Worthen Professor of Drama, University of Michigan