Tag: Shakespeare
Excess Emotion and Queer Subjectivity in Pericles
Pericles (1608), one of Shakespeare’s and co-author George Wilkins’s romances, dramatizes the tumultuous life of Pericles, the Prince of Tyre. Over five acts, it stages his acquisition of love, its tragic loss, and its ultimate rediscovery. Strikingly, the play opens with incest—Antiochus, the king of Antioch, instructs Pericles to solve a riddle whose answer reveals
The Nurse’s Repertoire in Romeo and Juliet
What does it mean to know? “Epistemology” describes a way of knowing, and, as you might expect, many different epistemologies exist. One episteme that has come to define the Western world is heteropatriarchy, a power-knowledge system organized around white, masculine supremacy. In the seventeenth century, French philosopher René Descartes theorized that the mind is separate
Cannibalizing Mothers: Pre-Oedipal Horror in Hannibal and Titus Andronicus
[Trigger Warning: brief discussions of sexual assault.] It’s been nearly ten years since Bryan Fuller’s TV show Hannibal (2013-2015) debuted. Since then, it has garnered a cult viewership and a devoted online fanbase, often referred to as “fannibals.” However, to their (and my) chagrin, the show was preemptively cancelled after Season 3. As a late-comer
“Enter RUMOUR, painted full of tongues”: Virality and the Dangers of Rhetoric
Over the last few weeks, I’ve explored the relationship between early modern fears of rhetoric and their relevance in our political climate. Thus far, I’ve focused on a specific kind of rhetoric, the anti-media rhetoric of President Trump, drawing parallels between his words and Henry II’s famous statement “will no one rid me of this
“If Thou Consider Rightly of the Matter”: Intent, Interpretation, and the Fear of Rhetoric
Last week, I looked at Julius Caesar as a case-study for understanding early modern fears concerning rhetoric during the late 16th and early 17th century. I hope to have demonstrated the degree to which Shakespeare was wary of the relationship between rhetorical provocation and the violent potential of the crowd. However, representations of rhetorical provocation
“Cry Havoc and Let Slip the Dogs of War”: Julius Caesar and the Power of Rhetoric
Last year, while writing for Broadly Textual about the political implications of staging Shakespeare’s Julius Caesar under the Trump administration, I off-handedly suggested that the play could be read as one in “which a demagogue exploits a mob of Roman citizens and preys upon their anger and resentment to compel them to destructive violence.” Later
Shipwrecked Courtier: Nostalgia and Courtiership in Twelfth Night and The Book of the Courtier
[7-10 minute read] Above my fortunes, yet my state is well. I am a gentleman. – Viola, Twelfth Night Viola, the shipwrecked woman of Shakespeare’s Twelfth Night, finds herself separated from her twin brother in a foreign land. Vulnerable, she must find means for supporting herself and dons the disguise of a eunuch named Cesario to
Spatial Representations
[5-7 minute read] When going on vacation these days, we take our cameras (or phones) with us to commemorate the places we visited, and the adventures that we embarked on. Contemporary phones and photos offer a way to share our experiences with friends and loved ones in a manner that allows them to imagine they
“They may pass for excellent men:” Audience and Interpretative Labor in A Midsummer Night’s Dream
[5-7 minute read] Last week, I discussed Hamlet’s metatheatrical play within a play, The Murder of Gonzago, in an attempt to discuss what Hamlet’s attitudes towards acting could tell us about the relationship between theater and audience. This week, I would like to shift gears and discuss a different moment of metatheatricality in Shakespeare: the
“Dumbshows and Noise:” Hamlet and The Problem of Audience
[5-7 minute read] During Act 3 of Hamlet, while preparing the travelling players for the evening’s performance, Hamlet provides the actor’s company with a lengthy speech concerning the proper methods of acting he would like them to employ. During the speech, he makes a note on clowns, saying “and let those that play/ your clowns speak