Shakespeare and MarxOUP Oxford, 30 wrz 2004 - 168 Marxist cultural theory underlies much teaching and research in university departments of literature and has played a crucial role in the development of recent theoretical work. Feminism, New Historicism, cultural materialism, postcolonial theory, and queer theory all draw upon ideas about cultural production which can be traced to Marx, and significantly each also has a special relation with Renaissance literary studies. This book explores the past and continuing influence of Marx's ideas in work on Shakespeare. Marx's ideas about cultural production and its relation to economic production are clearly explained, together with the standard terminology and concepts such as base/superstructure, ideology, commodity fetishism, alienation, and reification. The influence of Marx's ideas on the theory and practice of Shakespeare criticism and performance is traced from the Victorian age to the present day. The continuing importance of these ideas is illustrated via new Marxist readings of King Lear, Hamlet, The Merchant of Venice, Timon of Athens, The Comedy of Errors, All's Well that Ends Well, and The Winter's Tale. |
Spis treści
Introduction | 1 |
1 Shakespeare Marx Production and the World of Ideas | 7 |
2 Marxs Influence on Shakespeare Studies to 1968 | 46 |
3 Marxs Influence on Shakespeare Studies since 1968 | 69 |
4 Shakespeare and Marx Today | 98 |
Marx and Genetics | 138 |
Further Reading | 150 |
| 153 | |
| 163 | |
Inne wydania - Wyświetl wszystko
Kluczowe wyrazy i wyrażenia
action appears argued assertion audience base become bond Brecht called capitalism capitalist century characters claim comes commodity concern consciousness course created criticism culture determined dialectic distinction diVerent economic Elizabethan entirely equal exchange existence fact feel followed forces future genes give given Greenblatt Henry human idealism ideas ideology important individual insists kind King labour language linguistics literary live Marx Marx’s Marxist material matter means mind nature necessary objects opposite particular past performance person philosophical play political practice present principle production progress reading reality reason rejection relations relationship represented Richard ruling seems sense Shakespeare Shaw Shylock social society stage structure studies superstructure theatre theory things thinking thought Tillyard Timon turn universal Venice workers writing Wrst