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Shakespeare's Unreformed Fictions
Gillian Woods
256 pages
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216x138mm
978-0-19-967126-7
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Hardback
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June 2013 (estimated)
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- Offers a fresh perspective on the 'Catholic' material of Shakespeare's plays
- Explores a generic and chronological range of drama
- Provides nuanced readings of individual plays
- Engages with a variety of illuminating contextual material, including other Renaissance plays, religious polemics, news quartos, devotional manuals, and tracts on image theory
- Surveys and assesses a comprehensive range of scholarship on Catholicism and Shakespeare
Why does Catholicism have such an imaginative hold on Shakespearean drama, even though the on-going Reformation outlawed its practice? Shakespeare's Unreformed Fictions contends that the answers to this question are theatrical rather than strictly theological. Avoiding biographical speculation, this book concentrates on dramatic impact, and thoroughly integrates new literary analysis with fresh historical research.
In exploring the dramaturgical variety of the 'Catholic' content of Shakespeare's plays, Gillian Woods argues that habits, idioms, images, and ideas lose their denominational clarity when
translated into dramatic fiction: they are awkwardly 'unreformed' rather than doctrinally Catholic. Providing nuanced readings of generically diverse plays, this book emphasises the creative function of such unreformed material, which Shakespeare uses to pose questions about the relationship between self and other. A wealth of contextual evidence is studied, including catechisms, homilies, religious polemics, news quartos, and non-Shakespearean drama, to highlight how early modern Catholicism variously provoked nostalgia, faith, conversion, humour, fear, and hatred. This book argues that Shakespeare exploits these contradictory attitudes to frame ethical problems, creating fictional plays that consciously engage audiences in the difficult leaps of faith required by both theatre and
theology. By recognizing the playfulness of Shakespeare's unreformed fictions, this book offers a different perspective on the interactions between post-Reformation religion and the theatre, and an alternative angle on Shakespeare's interrogation of the scope of dramatic fiction.Readership: Students and scholars of Shakespeare and Renaissance drama; students and scholars of post-Reformation religion.
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Gillian Woods, Lecturer in Renaissance Theatre and Drama at Birkbeck College, University of London Gillian Woods is a Lecturer in Renaissance Theatre and Drama at Birkbeck College, University of London. She has published on a range of early modern drama, including works by Shakespeare, Christopher Marlowe, John Ford and Anthony Munday.
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Introduction
Incorporating the Past in 1 Henry VI
Converting Names in Love's Labour's Lost
Seeming Difference in Measure for Measure and All's Well that Ends Well
Affecting Possession in King Lear
Knowing Fiction in The Winter's Tale
Bibliography
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The specification in this catalogue, including without limitation price, format, extent, number of illustrations, and month of publication, was as accurate as possible at the time the catalogue was compiled. Occasionally, due to the nature of some contractual restrictions, we are unable to ship a specific product to a particular territory. Jacket images are provisional and liable to change before publication.
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