A Range of Voices: Titus Andronicus and Love’s Labour’s Lost

Shakespeare ◽  
1993 ◽  
pp. 30-44
Author(s):  
Susan Bassnett
2021 ◽  
Author(s):  
◽  
Timothy Love

This book explores the impact of stereotypical concepts associated with black skin color in representations of black people during the English Renaissance, namely Shakespeare's Othello (Othello), Aaron (Titus Andronicus), Caliban (The Tempest), Rosaline (Love's Labour's Lost), and the "dark lady" (Sonnets). Ultimately, this book demonstrates how Shakespeare, and texts of select English Renaissance authors, retaliate against traditional stereotypical, mythical, or colonial representations of black people -- representations stemming from distinct resentments for black skin color, hegemonic notions of black inferiority, and opportunistic ambitions deriving from collective concepts of white superiority. These very early postcolonial-minded authors foreshadow modern postcolonial philosophers as they factually assess psychological patterns associated with early modern black people who endure racial discrimination, subjugation, and assimilation. Their literature contrasts previous and contemporary colonial works which fail to reference or utilize fact over racial myth when creating representations of black individuals.


Author(s):  
Goran Stanivukovic

Shakespeare’s early style is explored from the angles of theory and dramatic practice, and in relation to the social and political contexts of the 1590s. Arguing that ornament and symmetry are the two distinct properties of Shakespeare’s early style, the essay discusses hyperbole, repetition, and parallelism as the most prominent features of that style. Claiming that Shakespeare’s use of bombast in the Henry VI trilogy and in Titus Andronicus is more sophisticated than Robert Greene and William Scott deemed it to be, the essay also explores the complex employment of symmetry, repetition and parallelism in Love’s Labour’s Lost, Richard III, A Midsummer Night’s Dream, and Richard III, and in the embedded sonnets in Romeo and Juliet and Much Ado About Nothing. In conclusion, hyperbole is linked with the period’s colonial aspirations, demonstrated in a comparative analysis of Much Ado and Richard Hakluyt’s Principal nauigations.


2019 ◽  
Vol 31 (1-2) ◽  
pp. 4-25
Author(s):  
Gary Taylor
Keyword(s):  

This article proposes that Q1 Hamlet is best understood as an early Gothic tragedy. It connects Catherine Belsey’s work on Shakespeare’s indebtedness to ‘old wives’ tales’ and ‘winter’s tales’ about ghosts with Terri Bourus’s evidence of Q1’s connections to Stratford-upon-Avon, the 1580s, and the beginnings of Shakespeare’s London career. It conducts a systematic lexical investigation of Q1’s Scene 14 (not present in Q2 or F), showing that the scene’s language is indisputably Shakespearian. It connects the dramaturgy of Q1 to the dramaturgy of Titus Andronicus, particularly in terms of issues about the staging of violence, previously explored by Stanley Wells. It also shows that Titus and Q1 Hamlet share an unusual interest in the barbarity and vengefulness of Gothic Europe (including Denmark and Norway).


2013 ◽  
Vol 31 (3) ◽  
pp. 545-549
Author(s):  
Stephen Purcell
Keyword(s):  

2010 ◽  
pp. 47-108
Author(s):  
William Shakespeare
Keyword(s):  

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