Facultad de Filosofía y Letras Colegio de Letras Modernas Departamento de Letras Inglesas

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1 1 Facultad de Filosofía y Letras Colegio de Letras Modernas Departamento de Letras Inglesas An Introduction to Shakespeare Studies Semestre Dr. Alfredo Michel Modenessi amimods@gmail.com Objetivo(s) del curso: This seminar will provide a critical, howbeit quick, overview of choice scholarly and artistic notions, tools, and trends, regarding the historical and present significance and scope of Shakespeare as an object of academic study. For all purposes, the seminar will understand the label Shakespeare as signifying multiple ways: from man, dramatist, poet and author to cultural and transcultural phenomenon and icon. In the end, participants are expected to produce an array of well informed responses and contributions in the form of joint discussion and individual writing. Metodología: At first, the seminar will rely heavily on lecturing and the audiovisual presentation of fundamental information, choice performative excerpts, and contextual and illustrative materials, at all times in combination with the scrutiny and discussion of texts. Eventually, lecturing will make way for group discussion and scheduled oral presentations by students. Lista de lecturas Main: Julius Caesar Romeo and Juliet Macbeth Secondary: Twelfth Night Henry IV, Part 1 Contenidos 1. Shakespeare. 2. Reading the text: understanding, interpreting. 3. Reading from the text: two illustrative cases. 4. Reading with the text. Temario 1. Approaching the phenomenon. Life, text, stage and performance: facts and fictions. 2. Literature and performance. Fundamental signs. Reading between and beyond the lines. 3. Textual vs performative approaches; cases in point. 4. The fluidity of the Shakespearean sign: past and present.

2 2 Fechas: 29th January to 26th May 2018 Formas de evaluación debidamente especificadas en porcentajes: Students must actively participate in a minimum of 80% of the sessions, both spontaneously and by way of an oral presentation. The mark for the term will combine the former activities (25%) with the marks obtained on a final examination (25%) and a final paper (50%). Políticas de clase All students must show a high command of English. All students must be thoroughly acquainted with all the items in the main reading list prior to starting. Familiarity with secondary texts is strongly advised. There will be a 5 minute period of tolerance for latecomers, after which no one will be allowed in the classroom. Evident failure to comply with compulsory readings or assignments will be treated as absence from class. Papers and other assignments will not be accepted other than on due dates and hours, and in prescribed formats. The slightest evidence of plagiarism in any degree or form should result in immediate dismissal from the seminar and forfeiture of mark for the term. The use of phones and similar electronic devices other than for class work or support is strictly forbidden. Bibliografía primaria (a select sampler) Adamson, Sylvia, Lynette Hunter, Lynne Magnusson, Ann Thompson, and Katie Wales (eds.) (2001), Reading Shakespeare s Dramatic Language: A Guide, London: Bloomsbury (The Arden Shakespeare: Shakespeare and Language). Adamson, Sylvia, Gavin Alexander, and Katrin Ettenhuber (eds.) (2007), Renaissance Figures of Speech, Cambridge: Alexander, Catherine M.S. (ed.) (2004), Shakespeare and Language, Cambridge: Cambridge Alexander, Catherine M.S., and Stanley Wells (eds.) (2001), Shakespeare and Sexuality, Cambridge: Auden, W.H. (1965), The Fallen City, in Stephen Spender et. al. (eds.), Encounters: An Anthology of the First Ten Years, New York: Simon and Schuster. Astington, John H. (2010) Actors and Acting in Shakespeare s Time: The Art of Stage Playing, Cambridge: Bate, Jonathan (1993), Shakespeare and Ovid, Oxford: Clarendon Bearman, Robert (2016), Shakespeare s Money: How Much Did He Make and What Did This Mean?, Oxford: Oxford Belsey, Catherine (2001), Shakespeare and the Loss of Eden, London: Palgrave. Bigliazzi, Silvia, and Lisanna Calvi (eds.) (2017), Shakespeare, Romeo and Juliet, and Civic Life, London: Routledge.

3 Burt, Richard (ed.) (2002), Shakespeare after Mass Media, London: Routledge. Calbi, Maurizio (2005), Approximate Bodies: Gender and Power in Early Modern Drama and Anatomy, London: Routledge. Callaghan, Dympna (2007), Shakespeare s Sonnets, Chichester: Blackwell. Campbell, Lilly B. (1930), Shakespeare s Tragic Heroes: Slaves of Passion, Cambridge: Cartelli, Thomas and Katharine Rowe (2007), New Wave Shakespeare on Screen, Cambridge and Malden: Polity. Cartmell, Deborah (2000), Interpreting Shakespeare on Screen, London: Routledge. Cartmell, Deborah and Imelda Wheelan (eds.) (1999), Adaptations: From Text to Screen, Screen to Text, London: Routledge. Cartmell, Deborah and Imelda Wheelan (2010), Screen Adaptation: Impure Cinema, London and NY: Routledge. Cartmell, Deborah and Michael Scott (2001), Talking Shakespeare: Into the Millennium, London: Palgrave. Cavell, Stanley (2008), Disowning Knowledge in Seven Plays of Shakespeare, Cambridge: Clare, Janet (2014), Shakespeare s Stage Traffic: Imitation, Borrowing and Competition in Renaissance Theatre, Cambridge: Clemen, Wolfgang (1978), The Development of Shakespeare's Imagery, London: Methuen. Croteau, Melissa and Carolyn Jess-Cooke (eds.) (2009), Apocalyptic Shakespeare: Essays on Visions of Chaos and Revelation in Recent Film Adaptations, Jefferson and London: McFarland. Crowl, Samuel (1992), Shakespeare Observed: Studies in Performance on Stage and Screen, Athens: Ohio Crystal, David (2008), Think on My Words : Exploring Shakespeare s Language, Cambridge: Davies, Anthony (1988), Filming Shakespeare s Plays: The Adaptations of Laurence Olivier, Orson Welles, Peter Brook, Akira Kurosawa, Cambridge: Davies, Anthony and Stanley Wells (eds.) (1994), Shakespeare and the Moving Image: The Plays on Film and Television, Cambridge: Dean, Leonard F. (ed.) (1978), Shakespeare: Modern Essays in Criticism, Oxford: Oxford Desmet, Christy and Robert Sawyer (eds.) (1999), Shakespeare and Appropriation, London: Routledge. Dessen, Alan C. (2002), Rescripting Shakespeare: The Text, the Director, and Modern Productions, Cambridge: Dobson, Michael, and Stanley Wells, and Will Sharpe and Erin Sullivan (eds.) (2015), The Oxford Companion to Shakespeare, 2nd edition. Oxford: Oxford Dollimore, Jonathan and Alan Sinfield (eds.) (1994), Political Shakespeare: Essays in Cultural Materialism (2 nd. ed.), Manchester: Manchester 3

4 Drakakis, John (ed.) (1985), Alternative Shakespeares, London: Methuen (New Accents). Dubrow, Heather (1987), Captive Victors: Shakespeare s Narrative Poems and Sonnets, Ithaca NY: Cornell Engel, William E., Rory Loughnane and Grant Williams (eds.) (2016), The Memory Arts in Renaissance England: A Critical Anthology, Cambridge: Cambridge University Erne, Lukas (2003), Shakesperare as Literary Dramatist, Cambridge: Cambridge University Fernie, Ewan (2017), Shakespeare for Freedom: Why the Plays Matter, Cambridge: Fineman, Joel (1986), Shakespeare s Perjured Eye: The Invention of Poetic Subjectivity in the Sonnets, Berkeley, Los Angeles and London: University of California Frye, Northrop (1967), Fools of Time: Studies in Shakespearean Tragedy, Toronto: University of Toronto (1986), On Shakespeare, ed. by Robert Sandler, New Haven and London: Yale Garber, Marjorie (2008), Shakespeare and Modern Culture, New York: Anchor Books. Goldberg, Jonathan (2003), Shakespeare s Hand, Minneapolis: University of Minnesota Grant-Ferguson, Ailsa (2016), Shakespeare, Cinema, Counter-Culture: Appropriation and Inversion, London: Routledge. Grazia, Margreta de (2007), Hamlet without Hamlet, Cambridge: Grazia, Margreta de, Maureen Quilligan and Peter Stallybrass (1996), Subject and Object in Renaissance Culture, Cambridge: Grazia, Margreta de, and Stanley Wells (eds.) (2001), The Cambridge Companion to Shakespeare, Cambridge: Greenblatt, Stephen (1988), Shakespearean Negotiations, Berkeley: University of California (1990), Learning to Curse, London: Routledge. (2001), Hamlet in Purgatory, Princeton: Princeton (2004), Will in the World: How Shakespeare Became Shakespeare, London: Jonathan Cape. (2010), Shakespeare s Freedom, Chicago and London: The University of Chicago Gurr, Andrew (1996), Playgoing in Shakespeare s London (2 nd ed.), Cambridge: Cambridge (2009), The Shakespearean Stage (4 th ed.), Cambridge: Cambridge University (2017), Shakespeare s Workplace: Essays on Shakespearean Theatre, Cambridge: Harris, Jonathan Gil (2009), Untimely Matter in the Time of Shakespeare, Philadeplphia: University of Pennsylvania 4

5 Hattaway, Michael (2007), Renaissance and Reformations, Chichester: Blackwell. Hawkes, Terence (1986), That Shakespeherian Rag: Essays on a Critical Process, London: Methuen. (1992), Meaning by Shakespeare, London: Routledge. Hawkes, Terence (ed.) (1996), Alternative Shakespeares 2, London: Routledge (New Accents). Henderson, Diana (ed.) (2008), Alternative Shakespeares 3, London: Routledge (New Accents). (ed.) (2006), A Concise Companion to Shakespeare on Screen, Oxford and Malden: Blackwell. Hindle, Maurice (2007), Studying Shakespeare on Film, London: Routledge. Holland, Peter (ed.) (2008), Shakespeare Survey 61: Shakespeare, Sound and Screen, Cambridge: Holland, Peter and Stephen Orgel (eds.) (2004), From Script to Stage in Early Modern England, London and NY: Palgrave. Hiscock, Andrew (2011), Reading Memory in Early Modern Literature, Cambridge: Hoenselaars, Ton (ed.) (2004), Shakespeare and the Language of Translation, London: Thomson (The Arden Shakespeare, Shakespeare and Language ). Hopkins, Lisa (2005), Beginning Shakespeare, Manchester: Manchester Hyland, Peter (2003), An Introduction to Shakespeare s Poems, London: Palgrave. Innes, Paul (1997), Shakespeare and the English Renaissance Sonnet: Verses of Feigning Love, New York: St. Martin s Jackson, Russell (ed.) (2007), The Cambridge Companion to Shakespeare on Film (2 nd ed.), Cambridge: Jardine, Lisa (1996), Reading Shakespeare Historically, London and NY: Routledge. Jarrett-Macauley, Delia (ed.) (2017), Shakespeare, Race and Performance: The Diverse Bard, London: Routledge. Kamps, Ivo (ed.) (1995), Materialist Shakespeare: A History, London: Verso. Karremann, Isabel (2015), The Drama of Memory in Shakespeare's History Plays, Cambridge: Kastan, David Scott (1999), Shakespeare After Theory, London: Routledge. (2001), Shakespeare and the Book, Cambridge: Kerrigan, John (2016), Shakespeare s Binding Language, Oxford, Oxford Knight, G. Wilson (1930), The Wheel of Fire: Interpretations of Shakespearian Tragedy, London: Methuen. Kinney, Arthur F. (2003), Shakespeare by Stages: An Historical Introduction, Malden and Oxford: Blackwell. (2006), Shakespeare and Cognition, London and NY: Routledge. Knight, G. Wilson (1930), The Wheel of Fire: Interpretations of Shakespearian Tragedy, Oxford: Oxford 5

6 Kott, Jan (1965), Shakespeare Our Contemporary, London: Methuen (1987), The Bottom Translation, Evanston: Northwestern (1992), The Gender of Rosalind, Evanston: Northwestern Lamb, Jonathan P. (2017), Shakespeare in the Marketplace of Words, Cambridge: Cambridge Lanier, Douglas (2002). Shakespeare and Modern Popular Culture, Oxford: Oxford Manvell, Roger (1971), Shakespeare and the Film, London: A S Barnes. Massai, Sonia (ed.) (2006), World-Wide Shakespeares: Local Appropriations on Film and Performance, London: Routledge. Leggat, Alexander (1974), Shakespeare s Comedy of Love, London: Methuen. Lethbridge, J.B. (ed.) (2008), Shakespeare and Spenser: Attractive Opposites, Manchester: Manchester Univeristy López, Jeremy (2003), Theatrical convention and Audience Response in Early Modern Drama, Cambridge: Lyne, Raphael (2016), Memory and Intertextuality in Renaissance Literature, Cambridge: Mancewicz, Aneta (2014), Intermedial Shakespeares on European Stages, London: Palgrave. Maguire, Laurie (2008), How to Do Things with Shakespeare: New Approaches, New Essays, Malden and Oxford: Blackwell. Marcus, Leah S. (1996), Unediting the Renaissance: Shakespeare, Marlowe, Milton, London: Routledge. (2017), How Shakespeare Became Colonial: Editorial Tradition and the British Empire, London: Routledge. Massai, Sonia (ed.) (2005), World-Wide Shakespeares, London: Routledge. Masten, Jeffrey (1997), Textual Intercourse: Collaboration, Authorship, and Sexualities in Renaissance Drama, Cambridge: McDonald, Russ (2004), The Bedford Companion to Shakespeare: An Introduction with Documents (2 nd ed.), Boston and New York: Bedford/St. Martin s. McDonald, Russ (ed.) (2004), Shakespeare: An Anthology of Criticism and Theory , Malden and Oxford: Blackwell. McMullan, Gordon (ed.) (2001), Renaissance Configurations: Voices, Bodies, Spaces , London: Palgrave. Miola, Robert S. (1994), Shakespeare and Classical Comedy: The Influence of Plautus and Terence, Oxford: Clarendon Montrose, Louis (1996), The Purpose of Playing: Shakespeare and the Cultural Politics of Elizabethan Theatre, Chicago and London: The University of Chicago Muir, Kenneth and S. Schoenbaum (eds.) (1971), A New Companion to Shakespeare Studies, Cambridge: Murphy, Andrew (ed.) (2010), A Concise Companion to Shakespeare and the Text, Chichester: Wiley-Blackwell. 6

7 Nuttall, A.D. (2007), Shakespeare the Thinker, New Haven: Yale Orgel, Stephen (1996), Impersonations: The Performance of Gender in Early Modern England, Cambridge: (2002), The Authentic Shakespeare and Other Problems of the Early Modern Stage, London: Routledge. Palfrey, Simon (2005), Doing Shakespeare, London: Bloomsbury (The Arden Shakespeare: Arden Student Guides). Palfrey, Simon, and Tiffany Stern (2007), Shakespeare in Parts, Oxford: Oxford University Parker, Patricia (1996), Shakespeare from the Margins: Language, Culture, Context, Chicago: The University of Chicago Parvini, Neema (2012), Shakespeare and Contemporary Theory: New Historicism and Cultural Materialism, London, New Delhi, New York and Sidney: Bloomsbury. Perkins Wilder, Lina (2010), Shakespeare's Memory Theatre: Recollection, Properties, and Character, Cambridge: Proudfoot, Richard (2001), Shakespeare: Text, Stage and Canon, London: Thomson (The Arden Shakespeare). Pye, Valerie Clayman (2017), Unearthing Shakespeare: Embodied Performance and the Globe, London: Routledge. Rabkin, Norman (1981), Shakespeare and the Problem of Meaning, Chicago: The Uiversity of Chicago Rothwell, Kenneth S. (1999), A History of Shakespeare on Screen: A Century of Film and Television, Cambridge. Shaughnessy, Robert (1998), Shakespeare on Film, NY: Macmillan. Starks, Lisa and Courtney Lehmann (eds.) (2001), Spectacular Shakespeare: Critical Theory and Popular Cinema, Madison: Fairleigh Sanders, Julie (2007), Shakespeare and Music: Afterlives and Borrowings, Cambridge and Malden: Polity. Schiffer, James (ed.) (2000), Shakespeare s Sonnets: Critical Essays, London: Routledge. Schoenfeldt, Michael (ed.) (2007), A Companion to Shakespeare s Sonnets, Malden and Oxford: Blackwell. Selleck, Nancy (2008), The Interpersonal Idiom in Shakespeare, Donne, and Early Modern Culture, London: Palgrave. Shapiro, James (1996), Shakespeare and the Jews, New York: Columbia (2005), 1599: A Year in the Life of William Shakespeare, New York, London, Toronto, and Sydney: Harper. (2010), Contested Will: Who Wrote Shakespeare?, London: Faber and Faber. Sinfield, Alan (2006), Shakespeare, Authority, Sexuality: Unfinished Business in Cultural Materialism, London and New York: Routledge. Smith, Bruce (1991), Homosexual Desire in Shakespeare s England: A Cultural Poetics, Chicago and London: The University of Chicago 7

8 8 (1999), The Acoustic World of Early Modern England: Attending to the O- Factor, Chicago and London: The University of Chicago (2010), Phenomenal Shakespeare, Chichester: Wiley-Blackwell. Starks, Lisa and Courtney Lehmann (eds.) (2001), Spectacular Shakespeare: Critical Theory and Popular Cinema, Madison: Farleigh Dickinson. Stern, Tifffany (2004), Making Shakespeare: From Stage to Page, London: Routledge. (2008), Rehearsal from Shakespeare to Sheridan, Oxford: Oxford University (2009), Documents of Performance in Early Modern England, Cambridge: Sullivan Jr., Gareth A. (2005), Memory and Forgetting in English Renaissance Drama: Shakespeare, Marlowe, Webster, Cambridge: Taylor, Gary (1989), Reinventing Shakespeare: A Cultural History from the Restoration to the Present, Oxford: Oxford Trevor, Douglas (2004), The Poetics of Melancholy in Early Modern England, Cambridge: Vickers, Brian (1993), Appropriating Shakespeare: Contemporary Critical Quarrels, New Haven: Yale Weimann, Robert (1987), Shakespeare and the Popular Tradition in the Theatre: Studies in the Social Dimension of Dramatic Form and Function, Baltimore: The Johns Hopkins (2000), Author s Pen and Actor s Voice: Playing and Writing in Shakespeare s Theatre, Cambridge: Weimann, Robert, and Douglas Bruster (2008), Shakespeare and the Power of Performance: Stage and Page in the Elizabethan Theatre, Cambridge: Wells, Stanley (2006), Shakespeare & Co., New York, Vintage. Wells, Stanley and Sarah Stanton (eds.) (2002), The Cambridge Companion to Shakespeare on Stage, Cambridge: Wilson, Richard (2004), Secret Shakespeare: Studies in Theatre, Religion and Resistance, Manchester: Manchester Worthen, W.B. (1997), Shakespeare and the Authority of Performance, Cambridge: (2003), Shakespeare and the Force of Modern Performance, Cambridge: (2010), Drama: Between Poetry and Performance, Chichester: Wiley- Blackwell. The following series are strongly recommended: Accents on Shakespeare, ed. Terence Hawkes, London: Routledge; Oxford Shakespeare Topics, eds. Peter Holland and Stanley Wells, Oxford: Oxford University Press; y

9 9 Shakespeare and Language (The Arden Shakespeare), eds. Anne Thompson and Lynne Magnusson, London: Thomson. Likewise amply recommended is reading or consulting journals and e-journals such as Shakespeare Survey (Cambridge University Press), Shakespeare Quarterly (The Folger Shakespeare Library), The Shakespearean International Yearbook (Palgrave), Shakespeare Studies (MIT, online), Borrowers and Lenders (University of Georgia, online), and the like.