Description

Includes audio/video content: AV special element video. Three hundred and eighty years after his death, William Shakespeare remains the central author of the English-speaking world; he is the most quoted poet and the most regularly produced playwright — and now among the most popular screenwriters as well. Why is that, and who "is" he? Why do so many people think his writing is so great? What meanings did his plays have in his own time, and how do we read, speak, or listen to his words now? What should we watch for when viewing his plays in performance? Whose plays are we watching, anyway? We'll consider these questions as we carefully examine a sampling of Shakespeare's plays from a variety of critical perspectives. Includes audio/video content: AV special element video. Three hundred and eighty years after his death, William Shakespeare remains the central author of the English-speaking world; he is the most quoted poet and the most regularly produced playwright — and now among the most popular screenwriters as well. Why is that, and who "is" he? Why do so many people think his writing is so great? What meanings did his plays have in his own time, and how do we read, speak, or listen to his words now? What should we watch for when viewing his plays in performance? Whose plays are we watching, anyway? We'll consider these questions as we carefully examine a sampling of Shakespeare's plays from a variety of critical perspectives.

Subjects

literature | literature | william shakespeare | william shakespeare | playwright | playwright | performance | performance | theater | theater | literary analysis | literary analysis | film | film | A Midsummer Night's Dream | A Midsummer Night's Dream | Much Ado about Nothing | Much Ado about Nothing | Hamlet | Hamlet | The First Part of King Henry the Fourth | The First Part of King Henry the Fourth | Henry the Fifth | Henry the Fifth | Othello | Othello | King Lear | King Lear | The Tempest | The Tempest

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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Shakespeare "doth bestride the narrow world" of the English Renaissance "like a colossus," leaving his contemporaries "walk under his large legs and peep about" to find themselves in "dishonourable graves." This course aims in part to correct this grave injustice by surveying the extraordinary output of playwrights whose names have largely been eclipsed by their more luminous compatriot: Marlowe, Jonson, Webster, and Ford, among others. Reading Shakespeare as just one of a group of practitioners -- many of whom were more popular than him during and even after his remarkable career -- will restore, I hope, a sense not just of the richness of English Renaissance drama, but also that of the historical and cultural moment of the English Renaissance itself. This course will examine the Shakespeare "doth bestride the narrow world" of the English Renaissance "like a colossus," leaving his contemporaries "walk under his large legs and peep about" to find themselves in "dishonourable graves." This course aims in part to correct this grave injustice by surveying the extraordinary output of playwrights whose names have largely been eclipsed by their more luminous compatriot: Marlowe, Jonson, Webster, and Ford, among others. Reading Shakespeare as just one of a group of practitioners -- many of whom were more popular than him during and even after his remarkable career -- will restore, I hope, a sense not just of the richness of English Renaissance drama, but also that of the historical and cultural moment of the English Renaissance itself. This course will examine the

Subjects

Shakespeare | Shakespeare | English Renaissance | English Renaissance | Marlowe | Marlowe | Jonson | Jonson | Webster | Webster | Ford | Ford | English Renaissance drama | English Renaissance drama | the relationship between theatre and society | the relationship between theatre and society | culture | culture | aesthetic | aesthetic | gender and class dynamics in Renaissance society | gender and class dynamics in Renaissance society | money | trade | and colonialism | money | trade | and colonialism | the body as metaphor and theatrical ?object? | the body as metaphor and theatrical ?object? | allegory and aesthetic form | allegory and aesthetic form | theatricality and meta-theatricality | theatricality and meta-theatricality | the private and the public | the private and the public | allegory | allegory | aesthetic form | aesthetic form | drama | drama | gender dynamics | gender dynamics | class dynamics | class dynamics | private | private | public | public | theatrically | theatrically | meta-theatrically | meta-theatrically | money | money | trade | trade | colonialism | colonialism | body | body | metaphor | metaphor | theatre | theatre | society | society | Spanish tragedy | Spanish tragedy | Hamlet | Hamlet | Jew of Malta | Jew of Malta | Alchemist | Alchemist | Duchess of Malfi | Duchess of Malfi | Broken Heart | Broken Heart | Arden of Faversham | Arden of Faversham | Witch of Edmonton | Witch of Edmonton | Knight of the Burning Pestle | Knight of the Burning Pestle | Island Princess | Island Princess

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

Site sourced from

http://ocw.mit.edu/rss/all/mit-allcourses.xml

Attribution

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Description

Three hundred and eighty years after his death, William Shakespeare remains the central author of the English-speaking world; he is the most quoted poet and the most regularly produced playwright — and now among the most popular screenwriters as well. Why is that, and who "is" he? Why do so many people think his writing is so great? What meanings did his plays have in his own time, and how do we read, speak, or listen to his words now? What should we watch for when viewing his plays in performance? Whose plays are we watching, anyway? We'll consider these questions as we carefully examine a sampling of Shakespeare's plays from a variety of critical perspectives.

Subjects

literature | william shakespeare | playwright | performance | theater | literary analysis | film | A Midsummer Night's Dream | Much Ado about Nothing | Hamlet | The First Part of King Henry the Fourth | Henry the Fifth | Othello | King Lear | The Tempest

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see https://ocw.mit.edu/terms/index.htm

Site sourced from

https://ocw.mit.edu/rss/all/mit-allsimplifiedchinesecourses.xml

Attribution

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Description

Shakespeare "doth bestride the narrow world" of the English Renaissance "like a colossus," leaving his contemporaries "walk under his large legs and peep about" to find themselves in "dishonourable graves." This course aims in part to correct this grave injustice by surveying the extraordinary output of playwrights whose names have largely been eclipsed by their more luminous compatriot: Marlowe, Jonson, Webster, and Ford, among others. Reading Shakespeare as just one of a group of practitioners -- many of whom were more popular than him during and even after his remarkable career -- will restore, I hope, a sense not just of the richness of English Renaissance drama, but also that of the historical and cultural moment of the English Renaissance itself. This course will examine the

Subjects

Shakespeare | English Renaissance | Marlowe | Jonson | Webster | Ford | English Renaissance drama | the relationship between theatre and society | culture | aesthetic | gender and class dynamics in Renaissance society | money | trade | and colonialism | the body as metaphor and theatrical ?object? | allegory and aesthetic form | theatricality and meta-theatricality | the private and the public | allegory | aesthetic form | drama | gender dynamics | class dynamics | private | public | theatrically | meta-theatrically | money | trade | colonialism | body | metaphor | theatre | society | Spanish tragedy | Hamlet | Jew of Malta | Alchemist | Duchess of Malfi | Broken Heart | Arden of Faversham | Witch of Edmonton | Knight of the Burning Pestle | Island Princess

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see https://ocw.mit.edu/terms/index.htm

Site sourced from

https://ocw.mit.edu/rss/all/mit-allcourses.xml

Attribution

Click to get HTML | Click to get attribution | Click to get URL

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Description

Three hundred and eighty years after his death, William Shakespeare remains the central author of the English-speaking world; he is the most quoted poet and the most regularly produced playwright — and now among the most popular screenwriters as well. Why is that, and who "is" he? Why do so many people think his writing is so great? What meanings did his plays have in his own time, and how do we read, speak, or listen to his words now? What should we watch for when viewing his plays in performance? Whose plays are we watching, anyway? We'll consider these questions as we carefully examine a sampling of Shakespeare's plays from a variety of critical perspectives.

Subjects

literature | william shakespeare | playwright | performance | theater | literary analysis | film | A Midsummer Night's Dream | Much Ado about Nothing | Hamlet | The First Part of King Henry the Fourth | Henry the Fifth | Othello | King Lear | The Tempest

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see https://ocw.mit.edu/terms/index.htm

Site sourced from

https://ocw.mit.edu/rss/all/mit-allcourses.xml

Attribution

Click to get HTML | Click to get attribution | Click to get URL

All metadata

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