Shakespeare’s Sublime Pathos: Person, Audience, Language breaks new ground in providing a sustained, demystifying treatment of its subject and looking for answers to basic questions regarding the creation, experience, aesthetics and philosophy of Shakespearean sublimity. More specifically, it explores how Shakespeare generates experiences of sublime pathos, for which audiences have been prepared by the sublime ethos described in the companion volume, Shakespeare’s Sublime Ethos. To do so, it examines Shakespeare’s model of mutualistic character, in which "entangled" language brokers a psychic communion between fictive persons and real-life audiences and readers. In the process, Sublime Critical platitudes regarding Shakespeare’s liberating ambiguity and invention of the human are challenged, while the sympathetic imagination is reinstated as the linchpin of the playwright’s sublime effects. As the argument develops, the Shakespearean sublime emerges as an emotional state of vulnerable exhilaration leading to an ethically uplifting openness towards others and an epistemologically bracing awareness of human unknowability. Taken together, Shakespeare’s Sublime Pathos and Shakespeare’s Sublime Ethos show how Shakespearean drama integrates matter and spirit on hierarchical planes of cognition and argue that, ultimately, his is an immanent sublimity of the here-and-now enfolding a transcendence which may be imagined, simulated or evoked, but never achieved.
The conundrum of character, the sublime mistook -- Hollow men -- Sympathetic imagination -- Language of passion -- The mutualist's dividend.
Bate, Jonathan, ed. (1992) The Romantics on Shakespeare. London: Penguin. Bate, Jonathan. (1997) The Genius of Shakespeare. London: Picador. Bayley, John. (1975) “Time and the Trojans”. Essays in Criticism, 25(1): 55–73. Boethius.
The Shakespearean Roots of Marxism Christian A. Smith. Routledge. Studies. in. Shakespeare. Shakespeare's Sublime Ethos Matter, Stage, Form Jonathan P. A. Sell Shakespeare's Sublime Pathos Person, Audience, Language Jonathan P. A. Sell ...
Shakespeare’s Returning Warriors – and Ours takes its primary inspiration from the contemporary U.S. Post-Traumatic Stress Disorder (PTSD) crisis in soldiers transitioning from battlefields back into society.
This volume presents a fresh look at the military spouses in Shakespeare’s Othello, 1 Henry IV, Julius Caesar, Troilus and Cressida, Macbeth, and Coriolanus, vital to understanding the plays themselves.
For instance, Emma Smith's account of the “first recorded purchaser” of the 1623 Folio implicitly profiles the “self-fashioning” Edward Dering as a fan of the early modern theater, noting that Dering's “account books covering the period ...
The essays in this volume collectively disclose a fascinating genealogy of how Shakespeare became a dynamic presence in factional discourse and explore the "war of words" that has accompanied civil wars and other instances of domestic ...
Shakespeare, William. As You Like It. Edited by Juliet Dusinberre. London: Bloomsbury Arden Shakespeare, 2013. Shakespeare, William. ... Stellar, Jennifer E., Amie M. Gordon, Paul K. Piff, Daniel Cordaro, Craig L. Anderson, Yang Bai, ...
Routledge Studies in Shakespeare Rasa eory in Shakespearian Tragedies Swapna Koshy Shakespeare's Audiences Edited ... Locke Hart Shakespeare's Sublime Ethos Ma er, Stage, Form Jonathan P. A. Sell Shakespeare's Sublime Pathos Person, ...
Effectively, we become the sublime text. Bradley has been reading Burke, Kant, and the Romantics (e.g., Coleridge and Wordsworth); he never mentions Longinus, referring to Shakespeare only in passing (47n1, ...