By Jean E. Howard, Scott Cutler Shershow
Marxist Shakespeares makes use of the wealthy analytic assets of the Marxist culture to examine Shakespeare's performs afresh. The e-book deals new insights into the historic stipulations during which Shakespeare's representations of sophistication and gender emerged, and into Shakespeare's position within the worldwide tradition stretching from Hollywood to the Globe Theatre. an essential source for college kids of Shakespeare including Marx's personal readings of Shakespeare, Derrida on Marx, and in addition Bourdieu, Bataillle, Negri and Alice Clark.
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Additional resources for Marxist Shakespeares (Accents on Shakespeare)
Example text
Marx’s “mole,” indeed, repeats not only Hamlet but the conclusion of Hegel’s Lectures on the Philosophy of History, where Hegel argued that “the latest philosophy contains therefore those which went before; . . it is the product and result of all that preceded it” (Hegel 1955: 552–3; Hegel 1928: 691). ” The Spirit can only emerge “into the light of day” if we “give ear to its urgency – when the mole that is within forces its way on – and we have to make it a reality” (Hegel 1955: 553; Hegel 1928: 691).
And when Hamlet, the father, returns, it is in his most heroic form, dressed in armor. And not just any armor but “the very Armor he had on” when he fought and defeated Fortinbras (1. 1. The father returns, we might say, as the material trace which has survived him: the armor which was a typical legacy from father to son, surviving the father’s death to mould, whether literally or ideologically, the son’s identity. It was, for instance, “the remainder of two rich armors which were my father’s” which Lady Anne Clifford left to her granchildren “to remaine to them and their posterity .
Yet caricature, parody, satire, and farce were far from negative forms for Marx. They were indeed the necessary forms of representation in a society where “an epic . . can no longer be written” (Prawer 1976: 15). Marx, in The Eighteenth Brumaire, developed a brilliant if unsystematic account of literary and political representation and of repetition and the settling and unsettling of origins. He did this above all through an indirect re-reading of Hamlet as parody or farce. Let me begin by emphasizing Marx’s profound interest both in Shakespeare and in parodic forms.