Kirjahaku

Stephen Greenblatt is one of the most influential practitioners of new historicism. This Reader makes available in one volume Greenblatt’s most important writings on culture, Renaissance studies, and Shakespeare. It also features occasional pieces on subjects as diverse as story-telling and miracles, demonstrating the range of his cultural interests. Taken together, the texts collected here dispel the idea that new historicism is antithetical to literary and aesthetic value.

WINNER OF THE PULITZER PRIZE FOR NON-FICTION 2012Almost six hundred years ago, a short, genial man took a very old manuscript off a library shelf.

Selected as a book of the year 2017 by The Times and Sunday TimesWhat is it about Adam and Eveâ??s story that fascinates us?

Stephen Greenblatt has been at the centre of a major shift in literary interpretation towards a critical method that places cultural creation in history. In this book - a sustained and powerful exemplification of this innovative method - he asks how collective beliefs and experiences are shaped, moved from one medium to another, concentrated in manageable form, and offered to the public on the stage. As well as giving us a new way of understanding Shakespeare's achievement, the book is an original analysis of a cultural process. Shakespearean Negotiations provides significant insights into Henry IV and Henry V, Twelfth Night, King Lear, and The Tempest; it also includes fascinating analyses of such aspects of early modern culture as exorcism, cross-dressing, colonial propaganda, and martial law codes. It is, as well, a masterly example of a new critical method by its leading practitioner.

`And there I found very many islands filled with people innumerable, and of all of them I have taken possession for their highnesses, by proclamation made and with the royal standard unfurled, and no one contradicted me' - Christopher Columbus Marvelous Possessions is a study of the ways in which Europeans of the late Middle Ages and the early modern period represented non-European peoples and took possession of their lands, in particular the New World. In a series of innovative readings of travel narratives, judicial documents, and official reports, Greenblatt shows that the experience of the marvelous, central to both art and philosophy, was cunningly yoked by Columbus and others to the service of colonial appropriation. He argues that the traditional symbolic actions and legal rituals through which European sovereignty was asserted were strained to breaking-point by the unprecedented nature of the discovery of the New World. But the book also shows that the experience of the marvelous is not necessarily an agent of empire: in writers as different as Herodotus, Jean de Léry, and Montaigne - and notably in Mandeville's Travels, the most popular travel book of the Middle Ages - wonder is the sign of a remarkably tolerant recognition of cultural difference.

"Renaissance Self-Fashioning" is a study of sixteenth-century life and literature that spawned a new era of scholarly inquiry. Stephen Greenblatt examines the structure of selfhood as evidenced in major literary figures of the English Renaissance - More, Tyndale, Wyatt, Spenser, Marlowe, and Shakespeare - and finds that in the early modern period new questions surrounding the nature of identity heavily influenced the literature of the era. Now a classic text in literary studies, "Renaissance Self-Fashioning" continues to be of interest to students of the Renaissance, English literature, and the new historicist tradition, and this new edition includes a preface by the author on the book's creation and influence.

Shakespeare lived in a world of absolutes-of claims for the absolute authority of scripture, monarch, and God, and the authority of fathers over wives and children, the old over the young, and the gentle over the baseborn. With the elegance and verve for which he is well known, Stephen Greenblatt, author of the best-selling Will in the World, shows that Shakespeare was strikingly averse to such absolutes and constantly probed the possibility of freedom from them. Again and again, Shakespeare confounds the designs and pretensions of kings, generals, and churchmen. His aversion to absolutes even leads him to probe the exalted and seemingly limitless passions of his lovers. Greenblatt explores this rich theme by addressing four of Shakespeare's preoccupations across all the genres in which he worked. He first considers the idea of beauty in Shakespeare's works, specifically his challenge to the cult of featureless perfection and his interest in distinguishing marks. He then turns to Shakespeare's interest in murderous hatred, most famously embodied in Shylock but seen also in the character Bernardine in Measure for Measure. Next Greenblatt considers the idea of Shakespearean authority-that is, Shakespeare's deep sense of the ethical ambiguity of power, including his own. Ultimately, Greenblatt takes up Shakespearean autonomy, in particular the freedom of artists, guided by distinctive forms of perception, to live by their own laws and to claim that their creations are singularly unconstrained. A book that could only have been written by Stephen Greenblatt, Shakespeare's Freedom is a wholly original and eloquent meditation by the most acclaimed and influential Shakespearean of our time.

Shakespeare lived in a world of absolutes - the absolute authority claimed for God over the world, for the holy scriptures over the faithful, monarchs over subjects, fathers over wives and children, men over women, the old over the young, and the gentle over the baseborn. With the elegance and verve for which he is well known, Stephen Greenblatt, author of the best-selling "Will in the World", shows that Shakespeare was strikingly averse to such absolute claims and constantly probed the possibility of freedom from them. Greenblatt explores this rich theme by addressing four of Shakespeare's preoccupations across all the genres in which he worked: beauty, hatred, authority, and autonomy. He considers Shakespeare's challenge to the cult of featureless perfection, his sense of the inherent limits of murderous hatred, his awareness of the ethical ambiguity of power, and his doubt that artists, guided by distinctive forms of perception, were at liberty to create without constraints of any kind. A book that could only have been written by Stephen Greenblatt, "Shakespeare's Freedom" is a wholly original and eloquent meditation by the most acclaimed and influential Shakespearean of our time.

A masterwork of history and cultural studies, Marvelous Possessions is a brilliant meditation on the interconnected ways in which Europeans of the Age of Discovery represented non-European peoples and took possession of their lands, particularly in the New World. In a series of innovative readings of travel narratives, judicial documents, and official reports, Stephen Greenblatt shows that the experience of the marvelous, central to both art and philosophy, was manipulated by Columbus and others in the service of colonial appropriation. Much more than simply a collection of the odd and exotic, Marvelous Possessions is both a highly original extension of Greenblatt's thinking on a subject that has permeated his career and a thrilling tale of wandering, kidnapping, and go-betweens--of daring improvisation, betrayal, and violence. Reaching back to the ancient Greeks, forward to the present, and, in his new preface, even to fantastical meetings between humans and aliens in movies like Close Encounters of the Third Kind, Greenblatt would have us ask: how is it possible, in a time of disorientation, hatred of the other, and possessiveness, to keep the capacity for wonder--for tolerant recognition of cultural difference--from being poisoned?

For many years the study of pre-seventeenth-century English drama was shaped largely by an understanding that everything written revolved around the individual author, either as part of the tradition that prepared the way for Shakespeare or as part of his legacy. Now twenty-five original essays by leading theorists and historians chart a paradigmatic shift within the field. In contrast to the traditional emphasis on individual authors, the contributors here explore the place of the stage within the larger society, as well as issues of performance and physical space. The essays are organized into three sections: "Early English Drama and Physical Space" examines the settings in which plays were acted; "Early English Drama and Social Space" juxtaposes the theater with such contemporary subcultures as the church, the city, and the court. Finally, "Early English Drama and Conditions of Performance and Publication" explores a wide range of material conditions and contexts, from props to printers. A major summary of contemporary scholarship and a storehouse of new theoretical and historical information, A New History of Early English Drama skillfully illustrates the complex influence of physical and social elements woven into the texts, and provides an innovative approach to literary studies and cultural history.

Stephen Greenblatt, the charismatic Harvard professor who "knows more about Shakespeare than Ben Jonson or the Dark Lady did" (John Leonard, Harper's), has written a biography that enables us to see, hear, and feel how an acutely sensitive and talented boy, surrounded by the rich tapestry of Elizabethan life; full of drama and pageantry, and also cruelty and danger; could have become the world's greatest playwright. A young man from the provinces--a man without wealth, connections, or university education--moves to London. In a remarkably short time he becomes the greatest playwright not just of his age but of all time. His works appeal to urban sophisticates and first-time theatergoers; he turns politics into poetry; he recklessly mingles vulgar clowning and philosophical subtlety. How is such an achievement to be explained?Will in the World interweaves a searching account of Elizabethan England with a vivid narrative of the playwright's life. We see Shakespeare learning his craft, starting a family, and forging a career for himself in the wildly competitive London theater world, while at the same time grappling with dangerous religious and political forces that took less-agile figures to the scaffold. Above all, we never lose sight of the great works--A Midsummer Night's Dream, Romeo and Juliet, Hamlet, Macbeth, and more--that continue after four hundred years to delight and haunt audiences everywhere. The basic biographical facts of Shakespeare's life have been known for over a century, but now Stephen Greenblatt shows how this particular life history gave rise to the world's greatest writer. Bringing together little-known historical facts and little-noticed elements of Shakespeare's plays, Greenblatt makes inspired connections between the life and the works and deliver "a dazzling and subtle biography" (Richard Lacayo, Time). Readers will experience Shakespeare's vital plays again as if for the first time, but with greater understanding and appreciation of their extraordinary depth and humanity.A Best Book of the Year: The New York Times 10 Best Books of 2004; Time magazine's #1 Best Nonfiction Book; A Washington Post Book World Rave; An Economist Best Book; A San Francisco Chronicle Best Book; A Christian Science Monitor Best Book; A Chicago Tribune Best Book; A Pittsburgh Post-Gazette Best Book; NPR's Maureen Corrigan's Best.

Bolder, even, than the ambitious books for which Stephen Greenblatt is already renowned, The Rise and Fall of Adam and Eve explores the enduring story of humanity's first parents. Comprising only a few ancient verses, the story of Adam and Eve has served as a mirror in which we seem to glimpse the whole, long history of our fears and desires, as both a hymn to human responsibility and a dark fable about human wretchedness.Tracking the tale into the deep past, Greenblatt uncovers the tremendous theological, artistic, and cultural investment over centuries that made these fictional figures so profoundly resonant in the Jewish, Christian, and Muslim worlds and, finally, so very "real" to millions of people even in the present. With the uncanny brilliance he previously brought to his depictions of William Shakespeare and Poggio Bracciolini (the humanist monk who is the protagonist of The Swerve), Greenblatt explores the intensely personal engagement of Augustine, D rer, and Milton in this mammoth project of collective creation, while he also limns the diversity of the story's offspring: rich allegory, vicious misogyny, deep moral insight, and some of the greatest triumphs of art and literature.The biblical origin story, Greenblatt argues, is a model for what the humanities still have to offer: not the scientific nature of things, but rather a deep encounter with problems that have gripped our species for as long as we can recall and that continue to fascinate and trouble us today.

In the winter of 1417, a short, genial, cannily alert man in his late thirties plucked a very old manuscript off a dusty shelf in a remote monastery, saw with excitement what he had discovered, and ordered that it be copied. He was Poggio Bracciolini, the greatest book hunter of the Renaissance. His discovery, Lucretius' ancient poem On the Nature of Things, had been almost entirely lost to history for more than a thousand years. It was a beautiful poem of the most dangerous ideas: that the universe functions without the aid of gods, that religious fear is damaging to human life, that pleasure and virtue are not opposites but intertwined, and that matter is made up of very small material particles in eternal motion, randomly colliding and swerving in new directions. Its return to circulation changed the course of history. The poem's vision would shape the thought of Galileo and Freud, Darwin and Einstein, and--in the hands of Thomas Jefferson--leave its trace on the Declaration of Independence. From the gardens of the ancient philosophers to the dark chambers of monastic scriptoria during the Middle Ages to the cynical, competitive court of a corrupt and dangerous pope, Greenblatt brings Poggio's search and discovery to life in a way that deepens our understanding of the world we live in now. "An intellectually invigorating, nonfiction version of a Dan Brown-like mystery-in-the-archives thriller." --Boston Globe

A young man from a small provincial town moves to London in the late 1580s and, in a remarkably short time, becomes the greatest playwright not of his age alone but of all time. How is an achievement of this magnitude to be explained? Stephen Greenblatt brings us down to earth to see, hear, and feel how an acutely sensitive and talented boy, surrounded by the rich tapestry of Elizabethan life, could have become the world's greatest playwright.

In this wonderfully rich, detailed, humorous, imaginative (Wall Street Journal) exploration, Greenblatt reveals the passionate theological, artistic, and cultural investment over centuries in the story of Adam and Eve. He examines the decisive contributions of Augustine, Durer, and Milton to this mammoth project of collective creation as he reckons with the story's volatile progeny, both good and evil : rich allegory, vicious misogyny, deep moral insight, narrow literalism, provocative questions and stubborn denials of scientific truth. And, of course, some of the greatest triumphs of art and literature. Profoundly resonant and so very real to millions of people, Adam and Eve remain, in Greenblatt's view, a means for understanding the difference between a lie and a story, and exploring the mythic heart of Western culture.

Examining the psyche--and psychoses--of the likes of Richard III, Macbeth, Lear, and Coriolanus, Greenblatt illuminates the ways in which William Shakespeare delved into the lust for absolute power and the disasters visited upon the societies over which these characters rule. Tyrant shows that Shakespeare's work remains vitally relevant today, not least in its probing of the unquenchable, narcissistic appetites of demagogues and the self-destructive willingness of collaborators who indulge their appetites.

As an aging, tenacious Elizabeth I clung to power, a talented playwright probed the social causes, the psychological roots, and the twisted consequences of tyranny. In exploring the psyche (and psychoses) of the likes of Richard III, Macbeth, Lear, Coriolanus, and the societies they rule over, Stephen Greenblatt illuminates the ways in which William Shakespeare delved into the lust for absolute power and the catastrophic consequences of its execution.Cherished institutions seem fragile, political classes are in disarray, economic misery fuels populist anger, people knowingly accept being lied to, partisan rancor dominates, spectacular indecency rules--these aspects of a society in crisis fascinated Shakespeare and shaped some of his most memorable plays. With uncanny insight, he shone a spotlight on the infantile psychology and unquenchable narcissistic appetites of demagogues--and the cynicism and opportunism of the various enablers and hangers-on who surround them--and imagined how they might be stopped. As Greenblatt shows, Shakespeare's work, in this as in so many other ways, remains vitally relevant today.

In repressive Elizabethan England, artists are frightened into dull conventionality; foreigners are suspect; popular entertainment largely consists of coarse spectacles, animal fights, and hangings. Into this crude world of government censorship and religious authoritarianism comes an ambitious cobbler's son from Canterbury with a daring desire to be known--and an uncanny ear for Latin poetry. A torment for most schoolboys, yet for a few, like Christopher Marlowe, a secret portal to beauty, visionary imagination, transgressive desire, and dangerous skepticism.What Marlowe seizes in his rare opportunity for a classical education, and what he does with it, brings about a spectacular explosion of English literature, language, and culture. His astonishing literary success will, in turn, nourish the talent of a collaborator and rival, William Shakespeare. Dark Renaissance illuminates both Marlowe's times and the origins and significance of his work--from his erotic translations of Ovid to his portrayal of unfettered ambition in a triumphant Tamburlaine to Doctor Faustus, his unforgettable masterpiece about making a pact with the devil in exchange for knowledge. Introducing us to Marlowe's transgressive genius in the form of a thrilling page-turner, Stephen Greenblatt brings a penetrating understanding of the literary work to reveal the inner world of the author, bringing to life a homosexual atheist who was tormented by his own compromises, who refused to toe the party line, and who was murdered just when he had found love. Meanwhile, he explores how the people Marlowe knew, and the transformations they wrought, gave birth to the economic, scientific, and cultural power of the modern world including Faustian bargains with which we reckon still.

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.