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Concepts of Nature in Shakespeare's "King Lear" by Olga Nikitina Pdf
Seminar paper from the year 2005 in the subject English Language and Literature Studies - Literature, grade: 1,0, University of Bonn, language: English, abstract: Of Shakespeare's four great tragedies, "King Lear" is remarkable for its vastness. Its largeness and expansiveness have been dwelt on by many critics. What gives King Lear its large dimensions is mostly its preoccupation with nature in all its vastness. Nature plays in it as great a role as in no other of Shakespeare’s plays. ‘Nature’, indeed, serves as a ‘key-word’ of the drama.
Author : Mark Allen McDonald Publisher : University Press of America Page : 334 pages File Size : 50,7 Mb Release : 2004 Category : Drama ISBN : 0761824669
Shakespeare's King Lear with The Tempest by Mark Allen McDonald Pdf
Shakespeare's 'King Lear' with 'The Tempest' is Mark McDonald's inquiry into the political philosophy of William Shakespeare through a reading of King Lear with reference to The Tempest. McDonald follows an argument connecting King Lear to the question of natural right and to changes in the orders of the western world at the beginnings of modernity.
Shakespeare and the Natural Condition by Geoffrey Bush Pdf
"In a remarkably ambitious and original book, Geoffrey Bush has treated Shakespeare's attitude toward nature in his plays, culminating in Hamlet and King Lear. His method is artful and highly effective : the book's structure is impressionistic -- the author circles around his subject in a spiral, touching, in each revolution, once more on themes he has mentioned earlier : comedy and the conventions of comedy vs. tragedy and its conventions ; the hero vs. the fool ; the certainty of comedy vs. the ambiguity of tragedy ; Nature and Christianity."--Book cover.
Conceptualizing the curse as the representation of a foundational, mythical violence that is embedded within juridical discourse, Shakespeare’s Curse pursues a reading of Richard III, King John, and King Lear in order to analyse the persistence of imprecations in the discourses of modernity. Shakespeare wrote during a period that was transformative in the development of juridical thinking. However, taking up the relationship between theatre, theology and law, Bjoern Quiring argues that the curse was not eliminated from legal discourses during this modernization of jurisprudence; rather, it persisted and to this day continues to haunt numerous speech acts. Drawing on the work of Derrida, Lacan, Walter Benjamin and Giorgio Agamben, among others, Quiring analyses the performativity of the curse, and tracks its power through the juristic themes that are pursued within Shakespeare’s plays – such as sovereignty, legitimacy, succession, obligation, exception, and natural law. Thus, this book provides an original and important insight into early modern legal developments, as well as a fresh perspective on some of Shakespeare’s best-known works. A fascinating interdisciplinary study, this book will interest students and scholars of Law, Literature, and History.
Law and Love by Paul W. Kahn,Professor Paul W Kahn Pdf
"Law and Love shows what the best interdisciplinary work can achieve. In addition to providing surprising new readings of all of the major characters in the play, this book expands the horizons of literary studies by introducing the concerns of the legal imagination, and it introduces law into the heart of cultural studies."--BOOK JACKET.
On King Lear, The Confessions, and Human Experience and Nature by Kim Paffenroth Pdf
Augustine's Confessions and Shakespeare's King Lear are two of the most influential and enduring works of the Western canon or world literature. But what does Stratford-upon-Avon have to do with Hippo, or the ascetical heretic-fighting polemicist with the author of some of the world's most beautiful love poetry? To answer these questions, Kim Paffenroth analyses the similarities and differences between the thinking of these two figures on the themes of love, language, nature and reason. Pairing and connecting the insights of Shakespeare's most nihilist tragedy with those of Augustine's most personal and sometimes self-condemnatory, sometimes triumphal work, challenges us to see their worldviews as more similar than they first seem, and as more relevant to our own fragmented and disillusioned world.
An in-depth exploration, through his plays and poems, of the philosophy of Shakespeare as a great poet, a great dramatist and a "great mind". Written by a leading Shakespearean scholar Discusses an array of topics, including sex and gender, politics and political theory, writing and acting, religious controversy and issues of faith, skepticism and misanthropy, and closure Explores Shakespeare as a great poet, a great dramatist and a "great mind"
In its timeless exploration of familial and political dissolution, and in its relentless questioning of the apparent moral indifference of the universe, King Lear is Shakespeare's darkest tragedy. It is also one of his most timely, for many of the issues it raises resonate loudly within our own era. Perhaps because of its contemporary relevance, it is one of Shakespeare's most frequently produced, taught, and studied works. And the amount of scholarship on King Lear is exceeded only be the complexity which that scholarship reveals. This book is a lucid and thorough guide to the play's roots and legacy. The volume begins with a discussion of the play's textual history, which is complicated by the different quarto and folio versions. It also addresses the merits of several recent editions. The book then looks at the literary, historical, and cultural contexts that inform the play. This is followed by an examination of Shakespeare's dramatic art, an analysis of the play's themes, and a summary of the different approaches critics have used to elucidate its meaning. A final chapter explores the play's rich production history, and a selected bibliography concludes the volume. As a guide, this reference successfully navigates the tremendous body of available scholarship and is a ready aid for a wide range of readers.
Rather Something - On "nothing" in King Lear by Stefanie Klering Pdf
Seminar paper from the year 2006 in the subject English Language and Literature Studies - Literature, grade: 1,0, University of Heidelberg (Anglistisches Seminar), course: Shakespeare and the human evil , language: English, abstract: In Elizabethan English there was no figure standing for 'nothing'. But through the influence of Indian philosophy and mathematical concepts the sign '0' was established in Europe. This introduction had a strong impact - not only in mathematics. The idea assigned to it brought strong dispute with it. Especially in philosophy a lot of questions were being asked: What was the nature of 'nothing'?, Was 'nothing' really nothing?, Could one talk about 'nothing'? Didn't it become something thereby? etc. Questions like these appeared during the Nihilist movement in the 16th century, which eventually led to Nietzsche's statement "God is dead". Shakespeare used the term 'nothing' about forty times in different contexts within his tragedy King Lear. However, in most student guides and source books on King Lear, 'nothing' is not regarded as leitmotive. As Brian ROTMAN points out, William Shakespeare was "in the first generation of children in England to have learned about zero from Robert Recorde's Arithmetic." In addition to his frequent use of 'nothing', Shakespeare lets two of his main characters deal with the aspect of 'nothing': the play dramatizes "[...] reductions to nothing, charting the annihilation of human warmth, the dissolution of social, natural, familial bonds, the emptying of kindness, sympathy, tenderness, love, pity, affection into hollow shells, into substitutes for themselves[...]." The main thesis of this essay is based on the mathematical concept of 'nothing' in which zero is the narrow borderline between positive and negative. Hence, Edgar can not be right when stating "Edgar I nothing am." Although in most secondary sources relevant for King Lear Gloucester usually is regarded as Lear's counterpart in the subplot, the focus in this essay will be put on the comparison of King Lear and Edgar and their individual development throughout the play. In order to proof this thesis, the concept of nothing and its sources will be introduced and explained. Chapter I will give a short overview of the ideas of the mathematical concept of 'nothing'. It will explain where the idea of a thing as 'nothing' comes from, how and when it became known in Europe and especially in Elizabethan England and why the sign '0' was chosen. Chapter II transfers the concept to the play. Although in Shakespearean times mathematics and literature are often regarded as diametral sciences, mathematics are relevant in deed for the reading of Shakespeare's King Lear. The hints on mathematics within the text will be examined in detail.
This Critical Guide helps students sift through and make sense of nearly three centuries of Lear criticism, providing insight into different assessments of the play's merit and its place within Shakespeare's work and the canon of English literature. Highlights include excerpts from the neoclassical and Romantic receptions of King Lear -- material from John Dryden, Samuel Johnson, Samuel Taylor Coleridge, and Victor Hugo -- and a discussion of recent and current trends in criticism of the play.
