Journal Article Shakespeare’s Mad Men: A Crisis of Authority. By Richard van Oort Get access Shakespeare’s Mad Men: A Crisis of Authority. By Richard van OortStanford: Stanford University Press, 2022. Pp. xii + 288. Amir Khan Amir Khan Email: amirazizkhan@hunnu.edu.cn https://orcid.org/0000-0003-2439-7113 Search for other works by this author on: Oxford Academic Google Scholar Shakespeare Quarterly, Volume 74, Issue 2, Summer 2023, Pages 161–163, https://doi.org/10.1093/sq/quad015 Published: 31 May 2023
期刊文章莎士比亚的《广告狂人》:权威危机。阅读莎士比亚的《广告狂人:权威危机》。斯坦福:斯坦福大学出版社，2022年。Pp. xii + 288埃米尔·汗埃米尔·汗电子邮件:amirazizkhan@hunnu.edu.cn https://orcid.org/0000-0003-2439-7113搜索作者的其他作品:牛津学术谷歌学者莎士比亚季刊，第74卷，第2期，2023年夏季，161-163页，https://doi.org/10.1093/sq/quad015出版:2023年5月31日
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THE FINAL SPEECH OF ANTONY AND CLEOPATRA, in which Octavian Caesar notes the “pity” and “glory” (5.2.360) of the titular characters’ “story” (l. 359), is an acknowledgment of the play’s literary bent, its interest in the matter and means of narrative. That interest is not the full extent of the play’s literary self-consciousness: it is concerned throughout with reading, particularly if the term is defined to include not only the literal reception or recitation of texts but also the interpretation of personalities, events, and the arc of history. Reading’s importance and figurative potential are established early in the first act through the Soothsayer’s introduction to his craft: “In nature’s infinite book of secrecy / A little I can read” (1.2.10–11). Of course, what the Soothsayer is reading in nature’s book—the remaining lives of the play’s central characters—is also the plot of the play. There is thus an inevitable parallel between the Soothsayer’s reading of auguries and two other kinds of reading: Shakespeare’s, necessarily on display in a play about well-documented historical figures, and that of his audience. The latter occurs in many forms: literal reading is never entirely absent even in the theater (the promptbook is always there), playgoers may have read about the characters or the play itself previously, and the play acknowledges, particularly through the panoply of commentary on the meaning of Antony’s life and character, that the audience will be interpreting what they are seeing. In a printed edition of the play, particularly one with a scholarly function, all of these elements of reading, past and future, come together. This essay examines the interactions between various conceptions of reading in Antony and Cleopatra and some of the kinds of reading that emerge in the
{"title":"Shakespeare, Steevens, and the Fleeting Moon: Glossing and Reading in Antony and Cleopatra","authors":"A. Mattison","doi":"10.1093/sq/quad010","DOIUrl":"https://doi.org/10.1093/sq/quad010","url":null,"abstract":"THE FINAL SPEECH OF ANTONY AND CLEOPATRA, in which Octavian Caesar notes the “pity” and “glory” (5.2.360) of the titular characters’ “story” (l. 359), is an acknowledgment of the play’s literary bent, its interest in the matter and means of narrative. That interest is not the full extent of the play’s literary self-consciousness: it is concerned throughout with reading, particularly if the term is defined to include not only the literal reception or recitation of texts but also the interpretation of personalities, events, and the arc of history. Reading’s importance and figurative potential are established early in the first act through the Soothsayer’s introduction to his craft: “In nature’s infinite book of secrecy / A little I can read” (1.2.10–11). Of course, what the Soothsayer is reading in nature’s book—the remaining lives of the play’s central characters—is also the plot of the play. There is thus an inevitable parallel between the Soothsayer’s reading of auguries and two other kinds of reading: Shakespeare’s, necessarily on display in a play about well-documented historical figures, and that of his audience. The latter occurs in many forms: literal reading is never entirely absent even in the theater (the promptbook is always there), playgoers may have read about the characters or the play itself previously, and the play acknowledges, particularly through the panoply of commentary on the meaning of Antony’s life and character, that the audience will be interpreting what they are seeing. In a printed edition of the play, particularly one with a scholarly function, all of these elements of reading, past and future, come together. This essay examines the interactions between various conceptions of reading in Antony and Cleopatra and some of the kinds of reading that emerge in the","PeriodicalId":39634,"journal":{"name":"SHAKESPEARE QUARTERLY","volume":"74 1","pages":"113 - 90"},"PeriodicalIF":0.3,"publicationDate":"2023-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45187730","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
B URIED IN A FOOTNOTE IN THE 1869 SECOND EDITION of Jacob Burckhardt’s Civilization of the Renaissance in Italy lies one of most intriguing facets of the history of Black Africans in early modern Europe. A compulsive reader of (and compiler of notes from) Renaissance texts, Burckhardt had observed that a highranking Venetian military officer of Black African ancestry was briefly cited in one of the most important accounts of the battle between Charles VIII of France and his Italian enemies at Fornovo di Taro in July of 1495. What immediately jumped to Burckhardt’s mind, as it does to that of a modern reader, was a possible connection to Shakespeare’s Othello (1604). After the citation of his source, the only comment Burckhardt made was this: “ein Neger (Aethiops) als höherer venezianischer Offizier, wonach auch Othello als Neger gefasst werrden kann” (“a Negro [‘Ethiopian’] as a high Venetian officer, according to which Othello can be understood as a Negro”). This essay will outline what is known (and not known) of this commander, provide some context for understanding his appearance in the historical record, and evaluate whether his career might have played an indirect role in generating the Black African protagonist of Shakespeare’s tragedy. Burckhardt’s footnote has largely been left undisturbed by scholars since its publication, except (in another learned footnote) by the art historian Elfriede Knauer (1926–2010), who cited it in a 2003 essay in Apollo, which is how it came to my attention. Knauer referenced Burckhardt in conjunction with her discussion of the two Black African oarsmen in Vittore Carpaccio’s Hunting on the Lagoon (circa 1492–1494; figure 1), but did not offer any discussion of either Burckhardt’s brief speculation about Othello or the Renaissance source that had
雅各布·布克哈特1869年出版的《意大利文艺复兴文明》第二版的脚注中，讲述了近代早期欧洲非洲黑人历史中最引人入胜的一个方面。Burckhardt是文艺复兴时期文本的狂热读者和注释编者，他注意到，在1495年7月法国查理八世和意大利敌人在福尔诺沃迪塔罗(Fornovo di Taro)的战斗中，一名具有非洲黑人血统的威尼斯高级军官被简要地引用。与现代读者一样，伯克哈特立即想到的是，这可能与莎士比亚的《奥赛罗》(1604)有关。在引用了他的来源之后，伯克哈特唯一的评论是:“ein Neger(埃塞俄比亚)als höherer venezianischer Offizier, wonach auch Othello als Neger gefasst werden kann”(一个黑人[埃塞俄比亚人]作为威尼斯的高级官员，根据这一点，奥赛罗可以被理解为一个黑人)。本文将概述这位指挥官的已知(和未知)情况，为理解他在历史记录中的形象提供一些背景，并评估他的职业生涯是否在莎士比亚悲剧中的黑人主角的产生中发挥了间接作用。自布克哈特的脚注发表以来，它基本上没有受到学者们的干扰，除了艺术史学家埃尔弗里德·克瑙尔(Elfriede Knauer, 1926-2010)在2003年《阿波罗》(Apollo)杂志上的一篇文章中引用了它(在另一个有学问的脚注中)，这就是它引起我注意的原因。Knauer将Burckhardt与她在Vittore Carpaccio的《泻湖上的狩猎》(约1492-1494;图1)，但没有对布克哈特关于奥赛罗的简短猜测或文艺复兴时期的来源进行任何讨论
{"title":"Zuan Bianco and Othello: The Afro-European Military Commander in Life and Art","authors":"Paul H. D. Kaplan","doi":"10.1093/sq/quad011","DOIUrl":"https://doi.org/10.1093/sq/quad011","url":null,"abstract":"B URIED IN A FOOTNOTE IN THE 1869 SECOND EDITION of Jacob Burckhardt’s Civilization of the Renaissance in Italy lies one of most intriguing facets of the history of Black Africans in early modern Europe. A compulsive reader of (and compiler of notes from) Renaissance texts, Burckhardt had observed that a highranking Venetian military officer of Black African ancestry was briefly cited in one of the most important accounts of the battle between Charles VIII of France and his Italian enemies at Fornovo di Taro in July of 1495. What immediately jumped to Burckhardt’s mind, as it does to that of a modern reader, was a possible connection to Shakespeare’s Othello (1604). After the citation of his source, the only comment Burckhardt made was this: “ein Neger (Aethiops) als höherer venezianischer Offizier, wonach auch Othello als Neger gefasst werrden kann” (“a Negro [‘Ethiopian’] as a high Venetian officer, according to which Othello can be understood as a Negro”). This essay will outline what is known (and not known) of this commander, provide some context for understanding his appearance in the historical record, and evaluate whether his career might have played an indirect role in generating the Black African protagonist of Shakespeare’s tragedy. Burckhardt’s footnote has largely been left undisturbed by scholars since its publication, except (in another learned footnote) by the art historian Elfriede Knauer (1926–2010), who cited it in a 2003 essay in Apollo, which is how it came to my attention. Knauer referenced Burckhardt in conjunction with her discussion of the two Black African oarsmen in Vittore Carpaccio’s Hunting on the Lagoon (circa 1492–1494; figure 1), but did not offer any discussion of either Burckhardt’s brief speculation about Othello or the Renaissance source that had","PeriodicalId":39634,"journal":{"name":"SHAKESPEARE QUARTERLY","volume":"74 1","pages":"69 - 89"},"PeriodicalIF":0.3,"publicationDate":"2023-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48217727","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Diva’s Gift to the Shakespearean Stage: Agency, Theatricality, and the Innamorata. By Pamela Allen Brown \u0000 Boy Actors in Early Modern England: Skill and Stagecraft in the Theatre. By Harry R. Mc\u0000 Carthy","authors":"Scott A. Trudell","doi":"10.1093/sq/quad020","DOIUrl":"https://doi.org/10.1093/sq/quad020","url":null,"abstract":"","PeriodicalId":39634,"journal":{"name":"SHAKESPEARE QUARTERLY","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-05-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47086861","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Shakespeare Multiverse: Fandom as Literary Praxis by Valerie M. Fazel and Louise Geddes (review)","authors":"R. Jones","doi":"10.1093/sq/quad013","DOIUrl":"https://doi.org/10.1093/sq/quad013","url":null,"abstract":"","PeriodicalId":39634,"journal":{"name":"SHAKESPEARE QUARTERLY","volume":"74 1","pages":"163 - 165"},"PeriodicalIF":0.3,"publicationDate":"2023-05-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44709789","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Journal Article Ovid and the Liberty of Speech in Shakespeare’s England. By Heather James Get access Ovid and the Liberty of Speech in Shakespeare’s England. By Heather JamesCambridge: Cambridge University Press, 2021. Pp. x + 288. Angeline Chiu Angeline Chiu Email: chiu.ex.machina@gmail.com Search for other works by this author on: Oxford Academic Google Scholar Shakespeare Quarterly, Volume 74, Issue 2, Summer 2023, Pages 152–155, https://doi.org/10.1093/sq/quad018 Published: 26 May 2023
奥维德与莎士比亚时代英国的言论自由。访问奥维德和莎士比亚时代的英国的言论自由。希瑟·詹姆斯著剑桥:剑桥大学出版社，2021年。p. x + 288。Angeline Chiu Angeline Chiu电子邮件:chiu.ex.machina@gmail.com搜索作者的其他作品:牛津学术谷歌学者莎士比亚季刊，卷74，第2期，夏季2023，页152-155,https://doi.org/10.1093/sq/quad018出版:2023年5月26日
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What value is there to invoking the name or words of William Shakespeare in a moment of environmental or political crisis? A naïve question? Perhaps. But then, to ask what, rhetorically, or ideologically, happens in such moments proves only slightly less naïve. The forensic or technical canniness we attribute to the speaker is belied still by an optimism that words might matter, an optimism that it might be best not to surrender, despite the prospect of critical and political embarrassment. What can the words of Shakespeare do?1 March 9, 2022: in a video address to the UK Parliament following the invasion of Ukraine by Russian forces under the autocratic leadership of Vladimir Putin, President Volodymyr Zelensky, speaking in Ukrainian, states that “the question for us now is to be or not to be.” “This is the Shakespearean question. For thirteen days,” he elaborates, “this question could have been asked. But now I can give you a definitive answer. It’s definitely yes, to be.”2
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Gail Kern Paster has done the work of several lifetimes in service to the field of Shakespeare studies. Whether in her groundbreaking scholarship on humoral theory, her leadership of the Folger Shakespeare Library, or her editorial roles at Shakespeare Quarterly, Gail’s unique ability to bring passion, leadership, and insight to her work have been an inspiration to her colleagues. I know this firsthand as her successor as Folger Director. Gail led the Folger through a period of change, challenge, and innovation—including a period of seismic shifts in the intellectual landscape as the generalizations of “high theory” were forced into conversation with the “archive.” Shakespeare Quarterly helped lead the conversation about how methodologies from many fields could be in dialogue with our teaching and scholarship around this writer and the early modern period. As the aperture widens ever more in terms of the disciplines we engage, and the history and uses of Shakespeare scholarship come into clearer focus, I am grateful for the intellectual intensity and focus that Gail has brought to the journal—an intensity that we know sits comfortably with her warmth as a colleague and human being. In its role as lead journal for one of the most widely read and performed writers in the world, Shakespeare Quarterly has found and advanced the most searching discussions about this writer and the humanities more generally. Some of the intensity of that conversation is a result of Shakespeare’s myriad identities—as an institution, a canonical writer, a bankable theatrical storyteller, and a pivot-point in historical formations such as colonialism. And our ability to think about Shakespeare in these ways is itself a legacy of the journal and the care that has guided and sustained its work.
{"title":"Encomium","authors":"Michael Witmore","doi":"10.1093/sq/quad008","DOIUrl":"https://doi.org/10.1093/sq/quad008","url":null,"abstract":"Gail Kern Paster has done the work of several lifetimes in service to the field of Shakespeare studies. Whether in her groundbreaking scholarship on humoral theory, her leadership of the Folger Shakespeare Library, or her editorial roles at Shakespeare Quarterly, Gail’s unique ability to bring passion, leadership, and insight to her work have been an inspiration to her colleagues. I know this firsthand as her successor as Folger Director. Gail led the Folger through a period of change, challenge, and innovation—including a period of seismic shifts in the intellectual landscape as the generalizations of “high theory” were forced into conversation with the “archive.” Shakespeare Quarterly helped lead the conversation about how methodologies from many fields could be in dialogue with our teaching and scholarship around this writer and the early modern period. As the aperture widens ever more in terms of the disciplines we engage, and the history and uses of Shakespeare scholarship come into clearer focus, I am grateful for the intellectual intensity and focus that Gail has brought to the journal—an intensity that we know sits comfortably with her warmth as a colleague and human being. In its role as lead journal for one of the most widely read and performed writers in the world, Shakespeare Quarterly has found and advanced the most searching discussions about this writer and the humanities more generally. Some of the intensity of that conversation is a result of Shakespeare’s myriad identities—as an institution, a canonical writer, a bankable theatrical storyteller, and a pivot-point in historical formations such as colonialism. And our ability to think about Shakespeare in these ways is itself a legacy of the journal and the care that has guided and sustained its work.","PeriodicalId":39634,"journal":{"name":"SHAKESPEARE QUARTERLY","volume":"66 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135185656","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Conventional wisdom states that it is never a good idea to meet our heroes because doing so would leave us disappointed. When I was Jonathan Gil Harris’s graduate student, I heard Gil quip that he would never want to meet Shakespeare because he would probably be severely underwhelmed. While Shakespeare may not measure up to the fantasy versions we each conjure of him, this was not at all my experience of Gail Kern Paster. It would be an understatement to say that Gail’s reputation precedes her. Humoring the Body. Reading the Early Modern Passions. The Body Embarrassed. Not to mention her countless articles exploring the cosmology of Renaissance England. She has been Director of the Folger Shakespeare Library, Editor of Shakespeare Quarterly, President of the Shakespeare Association of America, and the recipient of numerous prestigious awards, including the Commander of the Most Excellent Order of the British Empire for her distinguished services to the arts. Knowing all of this about the woman who was about to be my new boss when I joined SQ’s editorial team, I was—as a newly minted Ph.D. with at least a moderate case of imposter syndrome at this point in my career—all nerves. What would I say to her? What would she think of me? Of my scholarship?
传统观点认为，与我们的英雄见面绝不是一个好主意，因为这样做会让我们失望。当我还是乔纳森·吉尔·哈里斯(Jonathan Gil Harris)的研究生时，我听到吉尔打趣地说，他永远不想见到莎士比亚，因为他可能会被莎士比亚深深打动。虽然莎士比亚可能不符合我们每个人对他的幻想版本，但这完全不是我对盖尔·科恩·帕斯特的体验。说盖尔的名声在她之前是保守的。迎合身体。阅读《早期现代激情》身体尴尬。更不用说她无数篇探索英国文艺复兴时期宇宙学的文章了。她曾担任福尔杰·莎士比亚图书馆馆长、《莎士比亚季刊》编辑、美国莎士比亚协会主席，并获得过许多著名奖项，其中包括因其对艺术的杰出贡献而获得的大英帝国最高荣誉勋章。当我加入《SQ》的编辑团队时，我知道了这位即将成为我新老板的女性的所有这些情况，作为一名刚获得博士学位的我，在我职业生涯的这个阶段，至少有中度的冒名顶替综合症，我非常紧张。我该对她说什么?她会怎么看我?我的奖学金?
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