30 Great Myths about Shakespeare

Maguire, Laurie; Smith, Emma

doi:10.1002/9781118326770

Cited by 7 publications

(3 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…Both anecdotes were entirely fictional, and yet Beerbohm's assertion that Macbeth brings disaster has gained considerable purchase within theatre communities (Maguire & Smith, 2012). Actors often refer to it using the somewhat more oblique title "The Scottish Play", and the British actor Adam Woodyatt caused a small stir when he refused to say the name of the play on a celebrity game show ("EastEnders," 2001).…”

Section: Introductionmentioning

confidence: 99%

‘Upon this Blasted Heath’ Macbeth Before and After the Hurricane

Smith

2017

Int. j. Bahamian stud.

View full text Add to dashboard Cite

During the 20th and 21st centuries, writers and performers in the Caribbean have used Shakespeare as a means to give language and form to their experience. One such example is the 2016 Shakespeare in Paradise performance of Macbeth, which both represented the destruction of Hurricane Joaquin and seemed to anticipate the destruction of Hurricane Matthew. The staging of these two hurricanes and their aftermath, I argue, is rooted in both the actual and mythological history of the play. In the Shakespeare in Paradise performance, the advent of natural disaster appeared as images of destruction, the staging of trauma, as well as geographical and material allusions.

show abstract

Section: Introductionmentioning

confidence: 99%

‘Upon this Blasted Heath’ Macbeth Before and After the Hurricane

Smith

2017

Int. j. Bahamian stud.

View full text Add to dashboard Cite

show abstract

“…13 It is in that sense that Laurie Maguire and Emma Smith recently published 30 Great Myths about Shakespeare where they explain that they choose the word 'myth' notably because it 'foregrounds the act of storytelling' and because it 'underlines the cultural work these stories do rather than their accuracy'. 14 If both the linguistic and ideological aspects of the Shakespearean Myth will be running themes in this special issue, the main focus of the articles will not be to consider questions of truths and untruths but to consider the Shakespeare Myth as the product both of a 'literary tradition and of collective imagination', as Michèle Willems already suggested in 1979. 15 'Myth' in its modern definition tends to be critical in some of its meanings.…”

mentioning

confidence: 99%

Introduction

March

Mayer

Vienne-Guerrin

2016

Cahiers Élisabéthains: A Journal of English Renaissance Studies

View full text Add to dashboard Cite

Montpellier 3, IRCL 'T riumph, my Britaine, thou hast one to showe, / To whom all Scenes of Europe homage owe', wrote Ben Jonson in his poem 'To the memory of my beloved, The author Mr. William Shakespeare: and what he hath left us'. 1 As we celebrate the four hundredth anniversary of Shakespeare's death, Jonson's lines strike us as both true and untrue. Shakespeare is performed everywhere today in Europe and while he is recognized as one of the best authors Britain has produced, he has become far more than a national poet. In fact, one could argue now that his 'triumph' is due to the fact that he has grown to be not only a European but also a global author. Thus, it is fitting that the essays in this special anniversary issue should stem for the most part from a congress of the European Shakespeare Research Association (ESRA), which gathered European scholars, but also colleagues from all over the world, around the theme of 'Shakespeare and Myth'. 2 The congress proposed a rich journey into Shakespeare's kaleidoscopic 'mythscape' in two main directions. The first direction, that we shall term an 'upstream' direction (amont), considered myth in Shakespeare, exploring how classical mythology pervades the work of Shakespeare and his European contemporaries and to what extent other mythological influences are also present in his work,

show abstract

“…Неправильным было бы считать, что оно лежит где то посередине между научным исследованием наследия Шекспира и антишекспиризмом. Также сле дует отличать его от популярного шекспироведения (Maguire, Smith, 2012), которое доступно рассказывает о последних достижениях мировой гуманитарной науки, ос таваясь в рамках исключительно научного -с его требованиями к логическому пост роению системы аргументов и т. д. Единое определение поп шекспироведения пред ложить сложно, поэтому постараемся вычленить некоторые его основные черты.…”

unclassified

Поп-Шекспироведение: К Постановке Проблемы

Makarov¹

2015

ЗПУ

View full text Add to dashboard Cite

show abstract

30 Great Myths about Shakespeare

Cited by 7 publications

References 0 publications

‘Upon this Blasted Heath’ Macbeth Before and After the Hurricane

‘Upon this Blasted Heath’ Macbeth Before and After the Hurricane

Introduction

Поп-Шекспироведение: К Постановке Проблемы

Contact Info

Product

Resources

About