Faith in Shakespeare departs from the historical criticism that has dominated discussions of the Bard and religion over the past two decades. Rather than exploring faith as it relates to various political and historical controversies of the early modern period, Richard McCoy argues that "faith" in Shakespearean drama is best viewed as secular and poetic instead of an exclusively religious phenomenon. The study returns to Romantic era perceptions, mostnotably Coleridge's "suspension of disbelief" and his conception of "poetic faith." Enlarging on these conceptions and considering recent criticism on Shakespeare and religion, McCoy begins with a reading of The Comedy of Errors. The play serves as an example of how Shakespeare's early comedies disarmedaudiences' possible skepticism and of the theater itself by acknowledging their illusory qualities while emphasizing the power of those illusions. Subsequent chapters explore how the religious language deployed in As You Like It, Othello, and The Winter's Tale is secularized to emphasize the potency of the individual imagination and theatrical illusion in general. An epilogue on The Tempest examines the ways Propsero secularizes religious phenomenathroughout the romance, capturing the charisma of religion for the theater.
Faith in Shakespeare
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