Shakespeare's history and Roman plays are usually discussed in terms of their political themes; their leading characters are imagined human beings who must be understood in motivational terms. Analyzing these characters with the aid of modern psychology (the theories of Karen Horney), this story attempts both to make sense of inconsistencies within the plays and the controversies they have produced.
This study argues that Conrad portrays Marlow and his relationships with a psychological depth that is unsurpassed in literature. In Youth , Heart of Darkness and Lord Jim , he is a continuously-evolving character whose thoughts, feelings, and behaviours are expressions of his personality and experience.
One of literature's greatest gifts is its portrayal of realistically drawn characters--human beings in whom we can recognize motivations and emotions. In Imagined Human Beings, Bernard J. Paris explores the inner conflicts of some of literature's most famous characters, using Karen Horney's psychoanalytic theories to understand the behavior of these characters as we would the behavior of real people. When realistically drawn characters are understood in psychological terms, they tend to escape their roles in the plot and thus subvert the view of them advanced by the author. A Horneyan approach both alerts us to conflicts between plot and characterization, rhetoric and mimesis, and helps us understand the forces in the author's personalty that generate them. The Horneyan model can make sense of thematic inconsistencies by seeing them as the product of the author's inner divisions. Paris uses this approach to explore a wide range of texts, including Antigone, "The Clerk's Tale," The Merchant of Venice, A Doll's House, Hedda Gabler, Great Expectations, Jane Eyre, The Mayor of Casterbridge, Wuthering Heights, Madame Bovary, The Awakening, and The End of the Road.
The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. For this second edition of King Richard III, Janis Lull has added a new section to her introduction, in which she focuses on contemporary productions of the play as well as recent scholarly criticism. Lull emphasises the importance of women's roles in this popular drama but shows how the text has frequently been cut, rewritten and reshaped by directors and actors to enhance the role of Richard, often at the expense of female characters. The special relationship between King Richard III and Macbeth is also explored while the notes detail the play's language in terms that are easily accessible to contemporary readers.
"Psychology helps us to talk about what the novelist knows, but fiction helps us to know what the psychologist is talking about." So writes the author of this brilliant study. The chief impulse of realistic fiction is mimetic; novels of psychological realism call by their very nature for psychological analysis. This study uses psychology to analyze important characters and to explore the consciousness of the author and the work as a whole. What is needed for the interpretation of realistic fiction is a psychological theory congruent with the experience portrayed. Emerging from Paris' approach are wholly new and illuminating interpretations of Becky Sharp, William Dobbin, Amelia Sedley, Julian Sorel, Madame de Renal, Mathilde de la Mole, Maggie Tulliver, the underground man, Charley Marlow, and Lord Jim. The psychological approach employed by Paris helps the reader not only to grasp the intricacies of mimetic characterization, but also to make sense of thematic inconsistencies which occur in some of the books under consideration. For students of human behavior as well as students of literature, the great figures of realistic fiction provide a rich source of empathic understanding and psychological insight.
A groundbreaking collection of original essays, Stages of Reality establishes a new paradigm for understanding the relationship between stage and screen media. This comprehensive volume explores the significance of theatricality within critical discourse about cinema and television. Stages of Reality connects the theory and practice of cinematic theatricality through conceptual analyses and close readings of films including The Matrix and There Will be Blood. Contributors illuminate how this mode of address disrupts expectations surrounding cinematic form and content, evaluating strategies such as ostentatious performances, formal stagings, fragmentary montages, and methods of dialogue delivery and movement. Detailing connections between cinematic artifice and topics such as politics, gender, and genre, Stages of Reality allows readers to develop a clear sense of the multiple purposes and uses of theatricality in film.
Merely Players? marks a groundbreaking departure in Shakespeare studies by giving direct voice to the Shakespearean performer. It draws on three centuries worth of actors' written reflections on playing Shakespeare and brings together the dual worlds of performance and academia, providing a unique resource for the student and theatre-lover alike.
This book explores traditional approaches to the play, which includes an examination of the play in light of current history, in the context of Renaissance England, and in relation to Shakespeare's other Roman plays as well as structural examination of plot, language, character, and source material. Julius Caesar: Critical Essays also examines the current debates concerning the play in Marxist, psychoanalytic, deconstructive, queer, and gender contexts.
Many critics agree with C. S. Lewis that "Satan is the best drawn of Milton's characters". Satan is certainly a wonderful creation, but Adam and Eve are also complex and well-drawn, and God may be the most complicated character of all. Paradise Lost is above all God's story; it is his discontent, first with Lucifer and then with human beings, that drives the action from the beginning until his anger subsides at the world's end. God and Satan have similarities not only in their pursuit of revenge, but also in their craving for power and glory. The ambitious Satan wants more than he already has, but what accounts for the voracity of God's appetite? Does the fact that each threatens the status of the other help to explain the intensity of their hatred and rage? Is their vindictiveness a response to being threatened, an effort to repair the injury they feel they've sustained? This seems to be the case for Satan, but must not God also have felt deeply hurt to have such a powerful need for vengeance? If so, why is the Almighty so vulnerable? And why is he so hard on Adam and Eve and the rest of humankind? These are the kinds of questions Bernard Paris tries to answer in this book. Paris's purpose is not to focus on Milton's illustrative intentions but to try to understand God, Satan, Adam, and Eve as psychologically motivated characters who are torn by inner conflicts.Most critics treat Milton's characters as coded messages from the author, but their mimetic features interfere with the process of decoding. Instead of looking through the characters to the author, Paris looks at Milton's characters as objects of interest in themselves, as creations inside a creation who escape their thematic roles and are embodiments of his psychological intuitions. This book heightens our appreciation of an ignored aspect of Milton's art and offers new insights into the critical controversies that have surrounded Paradise Lost.
