The seventieth volume in the annual series of volumes devoted to Shakespeare study and production. The articles are drawn from the World Shakespeare Congress, held 400 years after Shakespeare's death, in July/August 2016 in Stratford-upon-Avon and London. The theme is 'Creating Shakespeare'.
Climate is an enduring idea of the human mind and also a powerful one. Today, the idea of climate is most commonly associated with the discourse of climate-change and its scientific, political, economic, social, religious and ethical dimensions. However, to understand adequately the cultural politics of climate-change it is important to establish the different origins of the idea of climate itself and the range of historical, political and cultural work that the idea of climate accomplishes. In Weathered: Cultures of Climate, distinguished professor Mike Hulme opens up the many ways in which the idea of climate is given shape and meaning in different human cultures – how climates are historicized, known, changed, lived with, blamed, feared, represented, predicted, governed and, at least putatively, re-designed.
"The Cambridge Guide to the Worlds of Shakespeare aims to replicate the expansive reach of Shakespeare's global reputation. In pursuit of that vision, this work is transhistorical, international, and interdisciplinary. "Shakespeare's World," volume one of the two volume set, maps out the physical, social, and imaginative world that Shakespeare and his contemporaries inhabited. Fourteen sections cover such fields as varied as the theatre business, science and technology, popular culture, and medicine. For each of the volume's broad subject areas, an overview article is followed by a series of shorter essays taking up particular aspects of the subject at hand. Richly illustrated with more than three hundred images, this book brings the world, life, and afterlife of Shakespeare to readers, from nonacademic Shakespeare fans and students to theater professionals and Shakespeare scholars"--
The locations of Shakespeare s plays range from Greece, Turkey and Syria to England, and they range in time from 1000 BC to the early Tudor age. He never set a play explicitly in Elizabethan London which he and his audience inhabited, but always in places remote in space or time. How much did he and his contemporaries know about the foreign cities where the plays took place? What expectations did an audience have if the curtain rose on a drama which claimed to take place in Verona, Elsinore, Alexandria or ancient Troy? This fully illustrated book explores these questions, surveying Shakespeare s world through contemporary maps, geographical texts, paintings and drawings. The results are intriguing and sometimes surprising. Why should Love s Labour s Lost be set in the Pyrenean kingdom of Navarre? Was the Forest of Arden really in Warwickshire? Why do two utterly different plays like The Comedy of Errors and Pericles focus strongly on ancient Ephesus? Where was Illyria? Did the Merry Wives have to live in Windsor? Why did Shakespeare sometimes shift the settings of the plays from those he found in his literary sources? It has always been easy to say that wherever the plays are set, Shakespeare was really writing about human psychology and human nature, and that the settings are irrelevant. This book takes a different view, showing that many of his locations may have had resonances which an Elizabethan audience would pick up and understand, and it shows how significant the geographical background of the plays could be. "
Examining a wide array of ancient writings, Brent Nongbri dispels the commonly held idea that there is such a thing as ancient religion. Nongbri shows how misleading it is to speak as though religion was a concept native to pre-modern cultures.