Stephen Greenblatt argued in these celebrated essays that the art of the Renaissance could only be understood in the context of the society from which it sprang. His approach - 'New Historicism' drew from history, anthropology, Marxist theory, post-structuralism, and psychoanalysis and in the process, blew apart the academic boundaries insulating literature from the world aroun...
Stephen Greenblatt argued in these celebrated essays that the art of the Renaissance could only be understood in the context of the society from which it sprang. His approach - 'New Historicism' drew from history, anthropology, Marxist theory, post-structuralism, and psychoanalysis and in the process, blew apart the academic boundaries insulating literature from the world around it. Learning to Curse charts the evolution of that approach and provides a vivid and compelling exploration of a complex and contradictory epoch.
作者简介
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Stephen J. Greenblatt, the pioneer of the "new historicist" approach to literature, is currently John Cogan Professor of Humanities at Harvard University and the author of the recent bestselling life of Shakespeare, Will in the World.
目录
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1. Introduction
2. Learning to Curse: Aspects of Linguistic Colonialism in the Sixteenth Century
3. Marlowe, Marx and Anti-Semitism
4. Filthy Rites
5. The Cultivation of Anxiety: King Lear and His Heirs
6. Murdering Peasants: Status, Genre, and the Representation of Rebellion
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(更多)
1. Introduction
2. Learning to Curse: Aspects of Linguistic Colonialism in the Sixteenth Century
3. Marlowe, Marx and Anti-Semitism
4. Filthy Rites
5. The Cultivation of Anxiety: King Lear and His Heirs
6. Murdering Peasants: Status, Genre, and the Representation of Rebellion
7. Psychoanalysis and Renaissance Culture
8. Towards a Poetics of Culture
9. Resonance and Wonder
Index
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原文摘录
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并没有超越历史之外的无偏颇的愉悦。我们必须将愉悦历史化，探索它的演变，明白其利益攸关。
I take heart from the remarkable recent studies that have been began to give a history to sensations, states of being, and emotions that had seemed timeless: Delumeau on fear, Corbin on smell, Blumenberg on curiosity, and so forth.
I try to make a virtue of necessity and rethink the slusiveness that troubles me. That elusiveness is, I would argue, at once the sing and the consequence of the fact that neither the work of art nor the person experiencing the work of art nor the historical situation in which the work is produced or received fully posesses the pleasure that is art's principal reason for being and its ticket to survival.几乎所有形式的审美愉悦——对于戏剧愉悦尤其如此——都处在社会变迁的中介地带，其中与其间。正式这种流动性，一种包括了变异力量——而非无利害关系或稳定性——的流动性，使得这种由特定艺术作品引起的愉悦能够看起来历经数个世纪而不变。 (查看原文)
Routledge Classics(共182册)，
这套丛书还有
《Unpopular Essays》《The Birth of the Clinic (Routledge Classics)》《The Sovereignty of Good》《Michelangelo》《Signatures of the Visible (Routledge Classics )》
等
。
chap. 3 “Marlowe, Marx, and Anti-Semitism”
同是犹太人刻板刻画，笔者认为莎士比亚笔下的夏洛克完全不同于马洛（the Jew of Malta）和马克思(On the Jewish Question)笔下的犹太人。威尼斯全剧的戏剧冲突都围绕着犹太教财政主义（Jewish fiscalism）和非犹太教重商主义(Gentile mercantilism)展开...chap. 3 “Marlowe, Marx, and Anti-Semitism”
同是犹太人刻板刻画，笔者认为莎士比亚笔下的夏洛克完全不同于马洛（the Jew of Malta）和马克思(On the Jewish Question)笔下的犹太人。威尼斯全剧的戏剧冲突都围绕着犹太教财政主义（Jewish fiscalism）和非犹太教重商主义(Gentile mercantilism)展开。
剧中的“局外人”夏洛克无论是语言使用/ 心理/ 种族/ 宗教上都不同于他人。他象征着“异”。但他也有趋同时刻——hath not a Jew eye？需警惕这种“同”有如暗流贯穿全文。(展开)
chap. 3 “Marlowe, Marx, and Anti-Semitism”
同是犹太人刻板刻画，笔者认为莎士比亚笔下的夏洛克完全不同于马洛（the Jew of Malta）和马克思(On the Jewish Question)笔下的犹太人。威尼斯全剧的戏剧冲突都围绕着犹太教财政主义（Jewish fiscalism）和非犹太教重商主义(Gentile mercantilism)展开...chap. 3 “Marlowe, Marx, and Anti-Semitism”
同是犹太人刻板刻画，笔者认为莎士比亚笔下的夏洛克完全不同于马洛（the Jew of Malta）和马克思(On the Jewish Question)笔下的犹太人。威尼斯全剧的戏剧冲突都围绕着犹太教财政主义（Jewish fiscalism）和非犹太教重商主义(Gentile mercantilism)展开。
剧中的“局外人”夏洛克无论是语言使用/ 心理/ 种族/ 宗教上都不同于他人。他象征着“异”。但他也有趋同时刻——hath not a Jew eye？需警惕这种“同”有如暗流贯穿全文。(展开)
0 有用 Ichi 2023-06-09 16:23:34 北京
Psychoanalysis and Renaissance Culture 为了避免非历史化的理论套文本真的很应该读这篇文章
0 有用 GreekMoore 2019-10-20 14:44:50
chap. 3 “Marlowe, Marx, and Anti-Semitism” 同是犹太人刻板刻画，笔者认为莎士比亚笔下的夏洛克完全不同于马洛（the Jew of Malta）和马克思(On the Jewish Question)笔下的犹太人。威尼斯全剧的戏剧冲突都围绕着犹太教财政主义（Jewish fiscalism）和非犹太教重商主义(Gentile mercantilism)展开... chap. 3 “Marlowe, Marx, and Anti-Semitism” 同是犹太人刻板刻画，笔者认为莎士比亚笔下的夏洛克完全不同于马洛（the Jew of Malta）和马克思(On the Jewish Question)笔下的犹太人。威尼斯全剧的戏剧冲突都围绕着犹太教财政主义（Jewish fiscalism）和非犹太教重商主义(Gentile mercantilism)展开。 剧中的“局外人”夏洛克无论是语言使用/ 心理/ 种族/ 宗教上都不同于他人。他象征着“异”。但他也有趋同时刻——hath not a Jew eye？需警惕这种“同”有如暗流贯穿全文。 (展开)
0 有用 Ichi 2023-06-09 16:23:34 北京
Psychoanalysis and Renaissance Culture 为了避免非历史化的理论套文本真的很应该读这篇文章
0 有用 GreekMoore 2019-10-20 14:44:50
chap. 3 “Marlowe, Marx, and Anti-Semitism” 同是犹太人刻板刻画，笔者认为莎士比亚笔下的夏洛克完全不同于马洛（the Jew of Malta）和马克思(On the Jewish Question)笔下的犹太人。威尼斯全剧的戏剧冲突都围绕着犹太教财政主义（Jewish fiscalism）和非犹太教重商主义(Gentile mercantilism)展开... chap. 3 “Marlowe, Marx, and Anti-Semitism” 同是犹太人刻板刻画，笔者认为莎士比亚笔下的夏洛克完全不同于马洛（the Jew of Malta）和马克思(On the Jewish Question)笔下的犹太人。威尼斯全剧的戏剧冲突都围绕着犹太教财政主义（Jewish fiscalism）和非犹太教重商主义(Gentile mercantilism)展开。 剧中的“局外人”夏洛克无论是语言使用/ 心理/ 种族/ 宗教上都不同于他人。他象征着“异”。但他也有趋同时刻——hath not a Jew eye？需警惕这种“同”有如暗流贯穿全文。 (展开)