Shakespeare and the Culture of Paradox
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A01=Peter G. Platt
actor
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Anamorphic Painting
Antichrist's Lewd Hat
Antichrist’s Lewd Hat
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Boy Actor
Camille Wells Slights
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Category=DSG
citations
Dead Man
Discordia Concors
dramatic irony analysis
early modern theatre studies
epistemology in drama
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equity law interpretation
Friar Lodowick
gender performance theory
Golden Metwand
Liar Paradox
Lord's Day
Lord’s Day
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paradoxa
Paradoxa Stoicorum
Paradoxia Epidemica
Paradoxical Encomium
paradoxical thinking in Shakespearean plays
Renaissance literary criticism
Renaissance Paradox
Saint German
Semantic Solidarity
Shakespeare's Italian Settings
Shakespeare's Richard III
Shakespeare’s Italian Settings
Shakespeare’s Richard III
Sir William Cornwallis
Smith's De Republica Anglorum
Smith’s De Republica Anglorum
stoicorum
Strict Justice
subsequent
Summulae Logicales
Theatrum Philosophicum
Thomas Playfere
twelfth
Young Man
Product details
- ISBN 9780754665519
- Weight: 635g
- Dimensions: 156 x 234mm
- Publication Date: 17 Feb 2009
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Hardback
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Exploring Shakespeare's intellectual interest in placing both characters and audiences in a state of uncertainty, mystery, and doubt, this book interrogates the use of paradox in Shakespeare's plays and in performance. By adopting this discourse-one in which opposites can co-exist and perspectives can be altered, and one that asks accepted opinions, beliefs, and truths to be reconsidered-Shakespeare used paradox to question love, gender, knowledge, and truth from multiple perspectives. Committed to situating literature within the larger culture, Peter Platt begins by examining the Renaissance culture of paradox in both the classical and Christian traditions. He then looks at selected plays in terms of paradox, including the geographical site of Venice in Othello and The Merchant of Venice, and equity law in The Comedy of Errors, Merchant, and Measure for Measure. Platt also considers the paradoxes of theater and live performance that were central to Shakespearean drama, such as the duality of the player, the boy-actor and gender, and the play/audience relationship in the Henriad, Hamlet, As You Like It, Twelfth Night, Antony and Cleopatra, The Winter's Tale, and The Tempest. In showing that Shakespeare's plays create and are created by a culture of paradox, Platt offers an exciting and innovative investigation of Shakespeare's cognitive and affective power over his audience.
Peter G. Platt is a Professor of English at Barnard College. He is the author of Reason Diminished: Shakespeare and Marvelous and the editor of Wonders, Marvels, and Monsters in Early Modern Culture.
