Guía Parte II Recepción Crítica Teatro de Shakespeare Curso 2014-2015 - DeFINITIVA

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    GRADOGUA

    DE

    ESTUDIO

    DE

    LA

    ASIGNATURA

    2

    PARTE

    |

    PLAN

    DE

    TRABAJO

    Y

    ORIENTACIONES

    PARA

    SU

    DESARROLLO

    2014

    -2015

    LA RECEPCIN CRTICA DEL TEATRO DE SHAKESPEARE

    Marta Cerezo Coordinadora), [email protected]

    y Jess Cora, [email protected]

    GRADO EN ESTUDIOS INGLESES: LENGUA, LITERATURA Y CULTURA

    mailto:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]
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    1.STUDY PLAN:DESCRIPTION OF THE COURSE AND LEARNING ACTIVITIES

    La Recepcin Crtica del Teatro de Shakespeare(Grado en Estudios Ingleses, First Semester, 5European Credit Transfer System, i.e. ECTS, Optional Subject) is mainly addressed to those students who

    are interested in the works of William Shakespeare and in Literary Theory applied to Shakespearean Studies.It offers, first, an overview of the main critical approaches to Shakespeares work from the seventeenthcentury to the end of the twentieth century, and, secondly, a detailed analysis of two of the playwrights mostimportant tragedies: HamletandMacbeth.

    The whole structure of the subject is based on the different sections of the required textbook: CriticalApproaches to Shakespeare: Shakespeare for All Time. The textbook is divided into two main parts:

    I.SHAKESPEAREANCRITICALHISTORY.

    UNIT 1 presents critical approaches to Shakespeare from the seventeenth century to the firsthalf of the twentieth century.

    UNIT 2 focuses on Shakespearean critical studies of the second half of the twentieth century.Both units deal with the principal critical lines of study of Shakespeares literary production. Thestudent is provided with a panorama of the evolution of critical ideas about Shakespeares worksthroughout history. After describing the main tenets of each critical school and their mainrepresentatives, a section called Selection of Texts is included. This section presents criticalfragments about some key Shakespearean plays, and ocassionally a sonnet, written by the mostinfluential critics of each theoretical approach. It presents a selection of the most important criticalconcepts of each fragment and their application to Shakespeares production. These criticalfragments deal with plays that the students have already read or studied for the course Ejes de la

    Literatura Inglesa Medieval y Renacentista Inglesa (Grado en Estudios Ingleses, First YearCompulsory Subject, 10 European Credit Transfer System or ECTS).

    II.THESHAKESPEAREANSTAGE:HAMLETANDMACBETH.

    UNITS 3 and 4 concentrate on exhaustive studies of Hamletand Macbethrespectively. Bothunits are divided into three sections. The first one deals with the historical and literary contexts of theplays and it focuses mainly on the dates of the plays composition and their sources. The secondsection explores the most important critical ideas about each play from the seventeenth to thetwentieth centuries. The third section, entitled Textual Analysis, offers a close reading of the plays bypaying especial attention to the way language is used by Shakespeare.

    The LEARNING ACTIVITIES1presented in the following STUDY PLAN FOR EACH UNITare designed to helpstudents to achieve the required course-related learning results: the implementation of the necessary skills,abilities and attitudes and the acquisition of the specific course knowledge:

    1. Careful reading of the information on each unit provided in the Study Guide.

    2. First close reading of the unit in the handbook. In the case of Units 3 and 4, the students shouldreadHamlet and Macbeth beforehand).

    1

    See section 5.STUDY PLAN GUIDEfor a detailed description of every learning activity of the Study Planactivities listed here.

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    3. Thorough comprehension of the compulsory material for each unit as well as the different criticalperspectives of the texts covered in each topic.

    4. In-depth study and assimilation of the information of the unit.

    5. Interaction with the teaching team.

    6. Participation in debates and discussions in the online discussion rooms.

    7. Self-evaluation exercises.

    8. Prueba de Evaluacin Continua(PEC) (UNITS3and4).

    2.BIBLIOGRAPHY

    1.

    Required Textbook:

    CEREZO MORENO, Marta(2005).Critical Approaches to Shakespeare: Shakespeare for All Time. Madrid:UNED.(46511UD01A01). (Available athttp://www.libreriavirtualuned.es).

    2. Compulsory Reading Material (Shakespeares plays):

    SHAKESPEARE, William 2003 (1985). Hamlet. Prince of Denmark. Ed. by Philip Edwards. The NewCambridge Shakespeare. Rev. ed. Cambridge: Cambridge University Press (ISBN 0521532523).

    SHAKESPEARE, William 2008 (1997). Macbeth. Ed. by A. R. Braunmuller. The New CambridgeShakespeare. 2nded. Cambridge: Cambridge University Press (ISBN 0521680980).

    Important note: the editions indicated in the manual: General Introduction (page 14) and theGeneral Bibliography (pages 329 and 330) are the previous editions to the ones indicatedhere (the ones publ ished in 2003 and 2008 respectively). All the page references in the manualrefer to the superseded editions, so if you use the latest editions you will possibly finddiscrepancies. We will provide the correct page references on the virtual course whenevernecessary.

    3. Recommended Textbooks for First-Year Subjects relevant to Recepcin Crtica del Teatro de

    Shakespeare:See section 2.5.STUDYGUIDELINES.

    Textbook of Literatura Inglesa I: Ejes de la Literatura Inglesa Medieval y Renacentista, First Year Course,Grado en Estudios Ingleses:

    DE LA CONCHAMUOZ, ngeles y Marta CEREZO MORENO2011. Ejes de la Literatura Inglesa Medieval yRenacentista. Madrid: Ramn Areces.

    Required bibliography of Comentario de Textos Literarios en Lengua Inglesa, First Year Course,

    Grado en Estudios Ingleses:

    http://www.libreriavirtualuned.es/http://www.libreriavirtualuned.es/
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    BARRY, Peter 2009 (2002). Beginning Theory. An Introduction to Literary and Cultural Theory. 3rdrev.ed. Manchester: Manchester University Press.

    The book:

    RYAN, Michael 2007 (1998). Literary Theory: A Practical Introduction. 2ndrev. ed. Oxford: Blackwell.

    is no longer required for the subject Comentario de Textos Literarios en Lengua Inglesa, First YearCourse, Grado en Estudios Ingleses as from the 2014-2015 academic course. However, it is useful forthis subject, RCTS, as it includes examples of readings from some of the critical points of view dealt within the handbook. If you took CTLLI before the present academic year and still have the book, you willindeed find its information on the critical schools and its discussions of King Learfrom different points ofview quite illuminating and helpful in your work with HamletandMacbeth.

    The following dictionaries specialised in Shakespeares English are also recommended. Thesedictionaries are especially useful to solve the comprehension problems derived from the changes in theevolution of the English language. Some words and expressions used by Shakespeare have nowdifferent meanings and may be problematic when discussing a specific part of the text. The criticalapparatus of the recommended critical editions solve many of these problems, but it is always useful tohave other reference materials:

    CRYSTAL, David and Ben CRYSTAL 2002. Shakespeares Words. A Glossary and LanguageCompanion. With a Preface by Stanley Wells. London: Penguin.

    ONIONS, C. T. 1989 (1986).A Shakespeare Glossary.Enlarged and revised throughout by Robert D.Eagleson. Oxford: Oxford University Press, rptd.

    Partridges dictionary on Shakespeares sexual and scatological language is also recommended.This will help students understand bawdy puns and allusions that they would otherwise miss whenreading the text:

    PARTRIDGE, Eric 2002 (1968) (1947). Shakespeares Bawdy. With a Preface by Stanley Wells.Routledge Classics.London: Routledge, 3rded., rptd.

    4. Extended List of Text Resources

    This is intended only for students willing to go into central aspects of the subject for future postgraduateresearch. The information provided by the books listed below is not necessary in order to obtain fullmarks (10) in this subject course, but it is recommended as a basic reading list to all those students whoplan to study a Master and focus on Renaissance drama and Shakespeare studies.

    OTHER RECOMMENDED EDITIONS OFSHAKESPEARES PLAYS:

    The editions of the set plays published in the Norton Critical Editions series include a selection ofbackground texts, excerpts from key critical articles, and some complementary and derivative texts thatillustrate the cultural milieu of the plays, the evolution of critical interpretation, and the reception as well asthe cultural influence of the Shakespearean texts. These editions are important sources of information for

    further reading as well as the development of research projects such as the Trabajo de Fin de Grado(TFG), Trabajo Fin de Mster (TFM), papers, etc.

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    MIOLA,Robert S. (ed.) 2011. Hamlet. Norton Critical Editions. New York: W. W. Norton.MIOLA, Robert S. (ed.) 2014 (2004). Macbeth.Norton Critical Editions. New York: W. W. Norton.

    CRITICISM:

    BARKER, Deborah E. and Ivo KAMPS(eds.) 1995. Shakespeare and Gender: A History. London and NewYork: Verso.

    BLOOM, Harold 1998. Shakespeare. The Invention of the Human. London: Fourth State.COYLE, Martin (ed.) 1992. Hamlet. Contemporary Critical Essays.New Casebooks. London: Macmillan.DOLLIMORE, Jonathan 1989. Radical Tragedy. Religion, Ideology and Power in the Drama of Shakespeare

    and His Contemporaries.New York: Harvester Wheatsheaf. and Alan SINFIELD (eds.) 1994. Political Shakespeare. Essays in Cultural Materialism. Manchester:

    Manchester University Press.DRAKAKIS, John (ed.) 1996. Shakespearean Tragedy.London and New York: Longman, 1996.EAGLETON, Terry 1996. Literary Theory. An Introduction. Oxford: Blackwell.HIDALGO, Pilar 2001. Paradigms Found. Feminist, Gay and New Historicist Readings of Shakespeare.

    Amsterdam: Rodopi.GREENBLATT, Stephen 1984. Renaissance Self-Fashioning. From More to Shakespeare. Chicago and

    London: The University of Chicago Press. 1997.Shakespearean Negotiations. Oxford: Clarendon Press.KASTAN, D. S. (eds.) 1999.A Companion to Shakespeare. Oxford: Blackwell.LEITCH, Vincent B. (ed.) 2010 (2001). The Norton Anthology of Theory and Criticism. 2nded. New York

    and London: W. W. Norton.LOOMBA, Ania and M. ORKIN(eds.) 1998. Post-Colonial Shakespeares. London and New York: Routledge.MCDONALD, Russ (ed.) 2004 (2003). Shakespeare: An Anthology of Criticism and Theory 1945-2000.

    Malden, Massachusetts and Oxford: Blackwell.PARKER, P. and G. HARTMAN(eds.) (1985). Shakespeare and The Question of Theory. New York andLondon: Routledge.

    SINFIELD, Alan (ed.) 1992. Macbeth. Contemporary Critical Essays. New Casebooks. London: Macmillan.WELLS, Stanley (ed.) 1997. The Cambridge Companion to Shakespeare Studies. Cambridge: Cambridge

    University Press.WILSON, R. and R. DUTTON (eds.) 1994. New Historicism and Renaissance Drama. London and New

    York: Longman.

    3.COURSE SCHEDULE

    The time schedule for each unit has been assigned having a student of average learning ability inmind. The total number of hours necessary to complete satisfactorily the activities and tasks planned will haveto be adjusted to the calculation of 25 hours for each subject credit (ECTS). The course schedule is orientedto fuel self-discipline and motivation, which will help students to schedule and manage their own learning.

    The first term begins on Tuesday 7th October. The first week will be considered an introductory weekand will not be included within the Course Schedule (see the next page):

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    UN IT DA T E S F IN ISH BY TH E EN D OF

    Introduction week. 7th 10thOctober

    Week 1(10thOctober)

    1. Critical Approaches toShakespeare: from Ben Jonson(1572/3-1637) to CleanthBrooks (1906-1994)

    13th 31stOctober

    Week 4(31stOctober)

    2. Critical Approaches toShakespeare: Second Half ofthe 20thCentury

    3rd 21stNovember

    Week 7(21stNovember)

    3. The Shakespearean Stage:Hamlet

    24thNovember 12thDecember

    Week 10(12thNovember)

    4. The Shakespearean Stage:Macbeth

    15th19th

    December 2014

    (See the next section)

    CHRISTMAS HOLIDAYS(19thDecember 2014 7thJanuary 2015)

    PECDEADLINE MONDAY,6THJANUARY(PECTO BE UPLOADED ONTO ALF)

    4. The Shakespearean Stage:Macbeth

    12th-16thJanuary 2015

    Week 12(16thJanuary 2015)

    5. Exam Preparation Week 19th 23rdJanuary 2015

    Week 13(23rdJanuary 2015)

    FIRST EXAMS WEEK:26th 31stJanuary 2015

    SECOND EXAMS WEEK:9th 14thFebruary 2015

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    4.STUDY GUIDELINES

    Following the Bologna Process methodology, in order to achieve a correct learning of the contents ofthe units, the students must bear in mind their LEARNING OBJECTIVES: the knowledge and learning skills andattitudes, which the student must develop and apply in every unit. The accomplishment of the learning

    objectives for each unit contributes to the acquisition of the course competences. The following list of resultsof the acquisition of learning skills and attitudes apply to all four units of this course:

    I.SKILL AND ABILITY-BASED LEARNING RESULTS:

    The student must be able to:

    1.Identify the main ideas of the unit and the compulsory reading material.

    2.

    Understand the key set Shakespearean texts using, if necessary, a grammar, dictionaries andspecialised dictionaries.

    3.Analyse and comment the compulsory passages.

    4.Relate the key content of the unit with the compulsory reading materials to understand them betterand comment the play from specific critical points of view.

    5.Analyse and discuss any part of the compulsory text (either set Shakespeare play) referring to the

    key content of the unit.

    6.Access the course's aLF online platform to consult material, make queries, interact with peers andthe teaching team, keep abreast with the course requirements, receive the latest course-relatednews, etc.

    7.Express correctly in an English academic register the literary knowledge acquired from the coursecontent and the compulsory readings.

    8.Assimilate and internalise (not memorise, but understand and be able to explain in summarised

    form) the information provided in the primary bibliography listed in section2.BIBLIOGRAPHYand usethis information to analyse the texts.

    II.ATTITUDE-BASED LEARNING RESULTS:

    Students must be able to:

    1. Maintain effective study habits and stay organised by following the guidelines provided by thisStudy Guide and by the teaching team.

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    2. Be willing to study both on their own and in groups on the online aLF platform in order to reinforcehis/her interactive cooperative and collaborative learning.

    3. Show their willingness to undertake an honest, realistic, constructive and productive self-assessment by checking the results of assignments with the model answers provided by theteaching team and accept the constructive feedback and marking of the teaching team and theTutor Intercampus.

    4. Strive to develop abstraction, comparative, relational, reflexive, critical, and analytical skills andavoid unproductive memorisation (i.e. think and discuss the texts cogently).

    5. Adhere to the assignment deadlines and exam schedules for the course.

    6. Observe the commonly accepted standards of academic honesty and intellectual integrity and

    never resort to plagiarism or academic fraud in the PEC and the exams.

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    UNIT 1 CRITICAL APPROACHES TOSHAKESPEARE. FROM BENJONSON (1572/3-1637)TOE.M.W.TILLYARD(1889-1962)

    1.1. CONTENTS

    1.1.

    The seventeenth century: Neo-classical criticism

    1.2.The eighteenth century: Editorial criticism1.2.1. Samuel Johnson (1709-1784)

    1.3. The nineteenth century: The Romantics1.3.1. Samuel Taylor Coleridge (1772-1834)

    1.4. The nineteenth century: The Victorians1.4.1. Edward Dowden (1843-1913)1.4.2. A. C. Bradley (1851-1935)

    1.5. The First half of the twentieth century1.5.1. The emphasis on poetry and language: G. Wilson Knight (1895-1985), Caroline

    Spurgeon (1869-1942), Wolfgang Clemen (1909-1990)1.5.2. The play as theatrical artifice: Harley Granville-Barker (1877-1946) and Muriel C.

    Bradbrook (1909-1993)1.5.3. The Historical Approach: Hardin Craig (1875-1968), Theodore Spencer (1902-1949)

    and E. M. W. Tillyard (1889-1962)1.5.4. New Criticism: Cleanth Brooks (1906-1994)

    1.2. AIMS AND OBJECTIVES

    Before focusing on the study on the main critical approaches to Shakespeare during the second halfof the twentieth century, it is advisable for students to become acquainted with the main lines of studydevoted to Shakespeare since the seventeenth century. The familiarity with leading Shakespearean criticalfigures such as Samuel Johnson, Samuel Taylor Coleridge, Andrew Cecil Bradley or George Wilson Knight isessential in order to acquire a necessary overview of the Shakespearean critical world. The first unit aims toshow students how, since the seventeenth century, Shakespeares artistic legacy has been approched andinterpreted according to the conception of literature of each age and of each critic. The multiplicity of criticallines shows, not just the various ways of interpreting and understanding Shakespeares texts, but also how

    the rich complexity of his art is able to elicit different responses over the centuries.1.3. COMPULSORY READING

    Critical Approaches to Shakespeare. Shakespeare For All Time. Unit 1.

    1.4.EXTENDED LIST OF TEXT RESOURCES

    This is only for students willing to go into central aspects of the subject for future postgraduateresearch. The information provided by the books listed below is not necessary in order to obtain full marks(10) in this subject course, but it is recommended as a basic reading list to all those students who plan to

    study a Master and focus on Renaissance drama and Shakespeare studies.

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    BRADBROOK, Muriel C. 1990 (1935). Themes and Conventions of Elizabethan Tragedy. Cambridge:Cambridge University Press.

    BRADLEY, A. C. 1992 (1904). Shakespearean Tragedy. Lectures on Hamlet, Othello, King Lear, Macbeth.London: Macmillan. Online (London: Macmillan, 2nd ed., 1937):http://archive.org/details/cu31924013159920.

    BRATCHELLD. F. (1990). Shakespearean Tragedy. London and New York: Routledge.CLEMEN, Wolfgang 1987 (1951). The Development of Shakespeares Imagery. London and New York:

    Methuen.COLERIDGE, Samuel Taylor 1985 (1818). Lectures and Notes on Shakespeare. Poems and Prose. Ed.

    Kathleen Raine. London: Penguin Books. Online (Lectures and Notes on Shakspere and OtherEnglish Poets. Now first collected by T. Ashe., London: George Bell & Sons, 1884):http://archive.org/details/cu31924013156678.

    DOWDEN, Edward 1892 (1875). Shakespeare: A Critical Study of His Mind and Art. London: Kegan Paul,Trench, Trbner & Co., Ltd. Online (Shakspere: A Critical Study of His mind and Art,New York andLondon: Harper and Brothers, 3rded., 1880):http://archive.org/details/shaksperecritica00dowd.

    DRYDEN, John 1985 (1668). Of Dramatick Poesie. Poems and Prose. Eds. Grant, Douglas and GaminiSalgado. Harmondsworth: Penguin. 147-225.

    JOHNSON, Samuel 1998 (1765).Preface toThe Plays of William Shakespeare. Johnson on Shakespeare.Ed.R. W. Desai. London: Sangam Books. 96-137. Online (Samuel Johnsonby Alice Meynell and G. K.Chesterton, London: Herbert & Daniel, [1911], 76-96):http://archive.org/details/samueljohnson00johniala.

    KNIGHT, G. Wilson 1995 (1930). The Wheel of Fire. Interpretations of Shakespearian Tragedy. London andNew York: Routledge:http://archive.org/details/wheeloffire001890mbp.

    SPURGEON, Caroline 1999 (1935). Shakespeares Imagery and What It Tells Us. Cambridge: CambridgeUniversity Press.

    TILLYARD, E. M. W. 1990 (1943). Elizabethan World Picture. Harmondsworth: Penguin Books.1991 (1994). Shakespeares History Plays. Harmondsworth: Penguin Books.VICKERS, Brian (1974-1981). Shakespeare. The Critical Heritage. London and New York: Routledge. (Six

    volumes on Shakespearean criticism from the seventeenth to the nineteenth centuries)

    1.5.STUDY GUIDELINES

    The student should follow the learning activities pointed out in Section 1.STUDYPLAN:DESCRIPTION OFTHECOURSE ANDLEARNINGACTIVITIESand described in Section 5. PLANSTUDYGUIDE.

    Throughout the different sections of this unit there are recurrent themes such as the ideas that thecritics have about Shakespearean characterisation, the use of the classical unities, and the recurrence andrelevance of imagery. Students are encouraged to make constant links between sections and between criticsbelonging to different periods, or even to the same critical view, in order to establish as many differences andsimilarities as possible. By doing so, they will acquire a more general and adequate sense of the developmentof critical views on Shakespeare. The Selection of Texts section is essential in order to complement theexplanations about each critical line and to help students to make those links more easily. Students can findadditional information about most of the critics and texts mentioned in the unit in the Recommended WebSites Section of the textbook.

    The book by D. F. Bratchell, Shakespearean Tragedy(1990) is not a required text for the course

    although it is strongly recommended to those students willing to complete the information of the unit. Itpresents very useful introductions to all the critical approaches presented in it. In the first part of this book,

    http://archive.org/details/cu31924013159920http://archive.org/details/cu31924013159920http://archive.org/details/cu31924013156678http://archive.org/details/shaksperecritica00dowdhttp://archive.org/details/samueljohnson00johnialahttp://archive.org/details/wheeloffire001890mbphttp://archive.org/details/wheeloffire001890mbphttp://archive.org/details/wheeloffire001890mbphttp://archive.org/details/wheeloffire001890mbphttp://archive.org/details/samueljohnson00johnialahttp://archive.org/details/shaksperecritica00dowdhttp://archive.org/details/cu31924013156678http://archive.org/details/cu31924013159920
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    there is a selection of and a commentary on critical texts on Shakespeare from 1679 to 1950. The secondpart is devoted to the critical views on Hamlet, Macbeth, OthelloandKing Lear.

    1.6.COMPLEMENTARY EXERCISES

    Doing the exercises presented in the sections of SELF-ASSESSMENT QUESTIONS, COMPLEMENTARYEXERCISES,FURTHER KNOWLEDGEEXERCISESand KEY TERMS, that the students can find after each unit in thetextbook Critical Approaches to Shakespeare. Shakespeare for All Timewill help them measure their ownachievement of learning results.

    * * *

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    UNIT2CRITICAL APPROACHESTOSHAKESPEARE.SECONDHALFOFTHETWENTIETHCENTURY

    2.1. CONTENTS

    2.1. Structuralism

    2.2. Poststructuralism and Deconstruction

    2.3. New Historicism and Cultural Materialism

    2.4. Gender Studies2.4.1. Feminism2.4.2. Gay Studies

    2.5. Postcolonialism

    2.2. AIMS AND OBJECTIVES

    The following unit presents an overview of the most important critical approaches to Shakespeareduring the second half of the twentieth century. The core of the unit focuses on poststructuralist critical linessuch as new historicism, cultural materialism, gender studies, psychoanalysis and postcolonialism.

    Section 2.1. on structuralism is necessary in order to offer the context to which poststructuralistanalysis stands against. Section 2.2. on poststructuralismanddeconstruction presents the new definitions ofstructure, text, author and reader that students need to bear in mind in order to understand the criticalmechanisms used by new historicists, materialists, critics working on gender studies, psychoanalysts orpostcolonial critics. It is essential to assimilate the different conceptions of language that structuralism andpoststructuralism offer since both critical approaches apply their linguistic views to the analysis of texts.Poststructuralism defines language, not as a stable and enclosed structure of meaning as structuralismregarded it, but as an unstable locus without a centre, where meaning is not fixed. Therefore, according topoststructuralism, a text is open to multiple interpretations. This unit develops this idea in detail.

    The poststructuralist idea of subjectivity, explained in section 2.3., as opposed to the humanistdefinition of the human being as the recipient of a transhistorical essence, is also central for a correctassimilation of poststructuralist analyses of Shakespeares works. Characters are no longer analysed as

    human beings that share qualities supposedly common to all humankind. Poststructuralists analyse humanidentity as fashioned by the social, historical or political contexts of the time. The subject is considered as acultural artefact. The concept of cultural difference is also vital to understand these lines of approach. Thereis not a human essence that links all human beings since our social, religious, political or economicenvironment makes us all different from each other according to poststructuralists. Therefore, the termdifference in relation to subjectivity is also to be taken into account when studying this unit.

    These critical approaches also relate the literary discourse with social, political, historical or religiousdiscourses having currency in Shakespeares time. His works are sometimes considered as strengtheningElizabethan and Jacobean social and political discourses. Sometimes, on the contrary, they are viewed aschallenges to these dominant discourses and their authority. But these critics, especially the materialists,

    also point out the contemporary relevance of the analysis of the playwrights work. Shakespeare is then

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    appropriated, and sometimes manipulated, in order to strengthen or defy certain twentieth- and early twenty-first century discourses.

    2.3. COMPULSORY READING

    Critical Approaches to Shakespeare. Shakespeare For All Time. Unit 2.

    2.4.EXTENDED LIST OF TEXT RESOURCES

    Only for students willing to go into central aspects of the subject for future postgraduate research.The information provided by the books listed below is not necessary in order to obtain full marks (10) in thissubject course.

    BARKER, Francis and Peter Hulme 1996 (1985). Nymphs and reapers heavily vanish: the discursive con-texts of The Tempest. Alternative Shakespeares. Ed. John Drakakis. London and New York:Routledge. 191-205.

    BELSEY, Catherine 1996 (1985). Disrupting sexual difference: meaning and gender in the comedies.Alternative Shakespeares. Ed. John Drakakis. London and New York: Routledge. 166-90.

    DOLLIMORE, Jonathan 1989 (1984). Radical Tragedy. New York: Harvester Wheatsheaf.and Alan Sinfield (eds.) 1996 (1985). Political Shakespeare. Essays in Cultural Materialism. Manchester:

    Manchester University Press.DUSINBERRE, Juliet 1996 (1975). Shakespeare and the Nature of Women. Basingstoke, Hampshire and

    London: Palgrave Macmillan.EAGLETON, Terry 1996 (1983).Literary Theory. An Introduction.Oxford: Blackwell.FOUCAULT, Michel 1990 (1976). The History of Sexuality. Volume 1. An Introduction. Harmondsworth:

    Penguin Books.FREUD, Sigmund 1965 (1900). The Interpretation of Dreams.New York: Avon Books.GOLDBERG, Jonathan 1995 (1992). Sodometries. Renaissance Texts, Modern Sexualities. Stanford: Stanford

    University Press.GREENBLATT, Stephen 1997 (1988). Shakespearean Negotiations. Oxford: Clarendon Press. 1984 (1980): Renaissance Self-Fashioning. From More to Shakespeare.Chicago and London: The

    University of Chicago Press.HOLLAND, Norman N. 1966 (1964). Psychoanalysis and Shakespeare. New York, Toronto and London:

    McGraw-Hill.JARDINE, Lisa (1983). Still Harping on Daughters. Women and Drama in the Age of Shakespeare. Hemel

    Hempstead: Harvester Wheatsheaf.JONES, Ernest 1955 (1949). Hamlet and Oedipus. A Classic Study in the Psychoanalysis of Literature. New

    York: Doubleday.LEITCH, Vincent B. (ed.) 2010 (2001). The Norton Anthology of Theory and Criticism.2nded. New York andLondon: W. W. Norton.

    LENZ, Carolyn Ruth Swift, Gayle Greene and Carol Thomas Neely (eds.) 1983 (1980). The Womans Part.Feminist Criticism of Shakespeare. Urbana and Chicago: University of Illinois Press.

    LOOMBA, Ania and Martin ORKIN (eds.) (1998). Post-Colonial Shakespeares. London and New York:Routledge.

    MCDONALD, Russ (ed.) (2003). Shakespeare:An Anthology of Criticism and Theory 1945-2000.Malden,Massachusetts and Oxford: Blackwell.

    ORGEL, Stephen (1996). Impersonations. The performance of gender in Shakespeares England. Cambridge:Cambridge University Press.

    SELDEN, Raman, Peter WIDDOWSON, and Peter BROOK (eds.) 2004 (1993). A Readers Guide toContemporary Literary Theory. London: Pearson, 5thed. Online:

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    http://faculty.mu.edu.sa/public/uploads/1385446724.9026contemporary-literary-theory-5th-edition.pdf

    SMITH, Bruce R. 1994 (1991). Homosexual Desire in Shakespeares England. Chicago and London: TheUniversity of Chicago Press.

    WAYNE, Valerie (ed). 1995 (1991). The Matter of Difference. Materialist Feminist Criticism of Shakespeare.New York and London: Harvester Wheatsheaf.

    WOODBRIDGE, Linda (1984). Women and the English Renaissance: Literature and the Nature of Womankind,1540-1620. Brighton: The Harvester Press.

    2.5.STUDY GUIDELINES

    The student should follow the learning activities pointed out in Section 1.STUDY PLAN:DESCRIPTIONOF THECOURSE ANDLEARNINGACTIVITIESand described in Section 5. PLANSTUDYGUIDE.

    Certain aspects analysed in this unit may be difficult to assimilate because of their complexity. For acorrect study of the unit, students should go back to the textbook of Literatura Inglesa I: Ejes de la LiteraturaInglesa Medieval y Renacentista (First Year, Grado Estudios Ingleses), Ejes de la Literatura InglesaMedieval y Renacentista (2011), and re-read carefully chapter 5: El Teatro de Shakespeare (1):Introduccin. There they will find useful introductions to new historicism, cultural materialism and genderstudies.

    The required handbook in Comentario de Textos Literarios en Lengua Inglesa (First Year, Grado enEstudios Ingleses) will also be of help in case students need to review concepts related to literary theory:

    BARRY, Peter 2009 (2002). Beginning Theory. An Introduction to Literary and Cultural Theory. 3rdrev. ed.Manchester: Manchester University Press.

    The book:

    RYAN, Michael 2007 (1998). Literary Theory: A Practical Introduction. 2ndrev. ed. Oxford: Blackwell.

    is no longer required for the subject Comentario de Textos Literarios en Lengua Inglesa, First YearCourse, Grado en Estudios Ingleses as from the 2014-2015 academic course. However, it is useful for thissubject, RCTS, as it includes examples of readings from some of the critical points of view dealt with in thehandbook. If you took CTLLI before the present academic year and still have the book, you will indeed find

    its information on the critical schools and its discussions of King Learfrom different points of view quiteilluminating and helpful in your work with HamletandMacbeth.

    The selected texts used in Unit 2 will clarify many of the concepts and will illustrate howpoststructuralist ideas are applied to Shakespeares texts. Many of the selected texts include footnotes thatinvite students to relate them to other texts in other sections. By doing so, they will observe how criticalcommentaries on certain texts complement or oppose each other. This will help them to have a clear idea ofhow Shakespeares works can be subjected to a multiplicity of interpretations that not only enrich the textsbut also give a prominent role to the reader.

    In case students want to gather further information besides the contents provided in the unit on

    Contemporary Literary Theory, the following texts are recommended:

    http://faculty.mu.edu.sa/public/uploads/1385446724.9026contemporary-literary-theory-5th-edition.pdfhttp://faculty.mu.edu.sa/public/uploads/1385446724.9026contemporary-literary-theory-5th-edition.pdf
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    SELDEN, Raman, Peter WIDDOWSON, and Peter BROOKER 2005 (1993). A Readers Guide toContemporary Literary Theory. London: Pearson, 5thed. Online:

    http://faculty.mu.edu.sa/public/uploads/1385446724.9026contemporary-literary-theory-5th-edition.pdf

    LEITCH,Vincent 2010. The Norton Anthology of Theory and Criticism. New York: W. W. Norton, 2nded.

    On Shakespearean criticism, we also recommend:

    MCDONALD, Russ 2004 (2003). Shakespeare:An Anthology of Criticism and Theory 1945-2000. Oxford:Wiley-Blackwell.

    It is a collection of the most important CRITICALessays on Shakespeares works of the second half ofthe twentieth century. It could be of great help to those students interested in reading the whole extension ofsome of the articles referred to in Unit 1 and Unit 2 such as Cleanth Brooks The Naked Babe and theCloak of Manliness, Tillyards Cosmic Background in Shakespeares History Plays, Stephen Greenblatts

    Invisible Bullets, Jonathan Dollimores Radical Tragedy, Catherine Belseys Disrupting Sexual Difference:Meaning and Gender in the Comedies and Francis Barker and Peter Hulmes Nymphs and reapers heavilyvanish: The Discursive Con-texts of The Tempest. Among many others, students can find texts by criticsthat are referred to in Unit 1 and 2 such as Wolfgang Clemen, Louis Adrian Montrose, Jean Howard, AlanSinfield, Stephen Orgel, Bruce Smith, Linda Woodbridge, and Ania Loomba.

    Also, students can find additional information about most of the critics and texts mentioned in the unitin the Recommended Web Sites Section of the handbook. Students are also strongly recommended the website that offers a glossary of literary theory and the one that presents general information about contemporarycritical approaches, in case certain concepts are not clear.

    2.6.COMPLEMENTARY EXERCISESDoing the exercises presented in the sections of SELF-ASSESSMENT QUESTIONS, COMPLEMENTARY

    EXERCISES,FURTHERKNOWLEDGEEXERCISESand KEYTERMS, that the students can find after each unit in thetextbook Critical Approaches to Shakespeare. Shakespeare for All Time, will help them measure their ownacquisition of skills and their achievement of learning results.

    * * *

    http://faculty.mu.edu.sa/public/uploads/1385446724.9026contemporary-literary-theory-5th-edition.pdfhttp://faculty.mu.edu.sa/public/uploads/1385446724.9026contemporary-literary-theory-5th-edition.pdf
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    UNIT3HAMLET

    3.1. CONTENTS

    3.1. Hamlet: Historical and Literary Contexts3.1.1. Date3.1.2. Main Sources of Hamlet

    3.2. Critical Approaches to Hamlet3.2.1. Some critical approaches from the eighteenth to the first half of the twentieth century3.2.2. Contemporary Critical Approaches to Hamlet: Catherine Belsey, Leonard

    Tennenhouse and Elaine Showalter

    3.3. Textual Analysis

    3.2. AIMS AND OBJECTIVES

    UNIT3 is devoted to the analysis of the most widely-read tragedy by Shakespeare: Hamlet. The unit isdivided into three sections:

    a. The first one offers information about the textual and historical contexts of the play. Despite the factthat it deals with issues such as dates and sources, it presents interesting pieces of information and not merefacts to be memorised. The play will be always located within the social, theatrical and political circumstancesof the period in which it was composed. In this way, the play will be seen as an integrated piece of its age.

    b. The second section deals with a selection of critical studies about Hamletsince the eighteenthcentury. The student will have the opportunity to see how Shakespearean critics that have been studied inUnits 1 and 2, such as Johnson, Coleridge, A. C. Bradley or G. Wilson Knight, have analysed the play. Theirstudies show the variety of interpretations that the complexity of certain aspects of Hamlethas provoked.Also, other relevant analyses of Hamletby critics such as T. S. Eliot or John Dover Wilson will be looked into.The second part of section 2 is devoted to contemporary critical approaches to Hamlet: a cultural materialistapproach by Catherine Belsey, a new historicist approach by Leonard Tennenhouse, and a feminist approachby Elaine Showalter. It is essential to have a clear view of the main tenets of such critical lines explained inUnits 1 and 2 in order to understand their conclusions about certain aspects of the play.

    c. The third section presents a textual analysis of the play in which the student will study itsmetatheatrical allusions, the role and signification of the Ghost, the ambiguous relationship between Opheliaand Hamlet, and the philosophical ideas presented by the play about human nature, the world, and death.

    3.3. COMPULSORY READING

    Critical Approaches to Shakespeare. Shakespeare For All Time. Unit 3.

    EDWARDS, Philip (ed.) 2003 (1985). Hamlet. Prince of Denmark. The New Cambridge Shakespeare.Cambridge: Cambridge University Press.

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    3.4.EXTENDED LIST OF TEXT RESOURCES

    Only for students willing to go into central aspects of the subject for future research as postgraduatestudents. The information provided by the books listed below is not necessary in order to obtain full marks(10) in this subject course.

    BELSEY, Catherine 1985. The Subject of Tragedy.London and New York: Routledge.BRADLEY, A. C. 1992 (1904). Lecture III. Shakespeares Tragic Period. Hamlet. Shakespearean Tragedy.

    London: MacMillan. 64-107. Online (London: Macmillan, 2nd ed., 1905, rptd. 1937, 79-128):http://archive.org/details/cu31924013159920.

    COLERIDGE, Samuel Taylor 1985 (1818). Lectures and Notes on Shakespeare. Poems and Prose. Ed.Kathleen Raine. London: Penguin Books. Online (Lectures and Notes on Shakspere and OtherEnglish Poets. Now first collected by T. Ashe., London: George Bell & Sons, 1884):http://archive.org/details/cu31924013156678.

    ELIOT, T. S. 1965 (1953). Hamlet. Selected Prose.Ed. John Hayward. Harmondsworth: Penguin. 98-103.BLOOM, Harold 1999. Shakespeare. The Invention of the Human.London: Fourth Estate.BULLOUGH, Geoffrey (ed.) 1978 (1973). Narrative and Dramatic Sources of Shakespeare.Vol. VII. London:

    Routledge and Kegan Paul..JENKINS, Harold (ed.) 1982. Hamlet. The Arden Shakespeare. London: Methuen.KNIGHT, G. Wilson 1995 (1930). The Embassy of Death: An Essay on Hamlet. The Wheel of Fire.

    Interpretations of Shakespearian Tragedy. London and New York: Routledge. 17-46:http://archive.org/details/wheeloffire001890mbp.

    SHOWALTER, Elaine 1993 (1985). Representing Ophelia: Women, Madness, and the Responsibilities ofFeminist Criticism. Shakespeare and The Question of Theory. Eds. Patricia Parker and GeoffreyHartman. New York and London: Routledge. 77-94.

    TENNENHOUSE, Leonard 1986. Power on Display. The Politics of Shakespeares Genres. New York and

    London: Methuen.WILSON, John Dover 1979 (1935). What Happens in Hamlet.Cambridge: Cambridge University Press.

    3.5.STUDY GUIDELINES

    The student should follow the learning activities pointed out in Section 1.STUDYPLAN:DESCRIPTION OFTHE COURSE AND LEARNING ACTIVITIES and described in Section 5. PLAN STUDY GUIDE. The firstrecommendation is that students read the play before reading the unit. Reading the works of literature greatlysimplifies learning the theoretical explanations since it allows students to determine the relevant ties betweeneach of them quickly. After reading the unit, they should read the play again as they will enjoy this second

    reading much more and will discover new aspects of the play that they did not perceive the first time. Theedition of Hamletused in this unit is The New Cambridge Shakespeare edition of Hamlet, Prince ofDenmarkedited by Philip Edwards (2003) (ISBN 0521532523).

    Reading the play also means reading the footnotes in Edwards edition. Students should not skip overthese notes to the play. They facilitate their understanding of certain passages much more clear. The study ofUnits 1 and 2 is also very helpful in order to assimilate and internalise (not memorise) the contents of section2.

    It is also very important to take into account that the third section of Textual Analysis is completed bythe information that can be found in pages 40 to page 61 in the introduction of The New Cambridge

    Shakespeare edition of Hamletby Philip Edwards (2003).

    http://archive.org/details/cu31924013159920http://archive.org/details/cu31924013156678http://archive.org/details/wheeloffire001890mbphttp://archive.org/details/wheeloffire001890mbphttp://archive.org/details/cu31924013156678http://archive.org/details/cu31924013159920
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    The footnotes in each section are also a crucial source of information. They define concepts, theyprovide information about authors or expand certain ideas. They also refer to lines of the play that illustrateand reinforce the idea that is being studied at that point. They also direct students either to some pages ofEdwardss introduction or to some of his footnotes.

    3.6.COMPLEMENTARY EXERCISES

    Doing the exercises presented in the sections of SELF-ASSESSMENT QUESTIONS, COMPLEMENTARYEXERCISES,FURTHER KNOWLEDGEEXERCISES and KEY TERMSthat the students can find after each unit in thetextbook Critical Approaches to Shakespeare. Shakespeare for All Timewill help them measure their ownacquisition of skills and achievement of learning results. They are also encouraged to improve theirknowledge of the play by viewing scenes of Hamleton the following websites:

    Hamlet, The Royal Shakespeare Company (RSC) 1 (2009) (YouTube)http://www.youtube.com/watch?v=1kuF1-tyaAE&feature=relmfu

    Hamlet, The Royal Shakespeare Company (RSC)2 (2009) (YouTube)http://www.youtube.com/watch?v=9OKGnrE8Sqo

    Hamlets Soliloquy. David Tennant, Royal Shakespeare Company (RSC) (YouTube). To be or not to be []soliloquy.http://www.youtube.com/watch?v=xYZHb2xo0OI

    Hamletdirected by Kenneth Branagh (YouTube)http://www.youtube.com/results?search_query=hamlet+kenneth+branagh&oq=hamlet+kenneth+branagh&aq=f&aqi=p-p1g8&aql=&gs_l=youtube.3..35i39j0l8.6719.7412.0.8226.8.4.0.0.0.1.160.442.2j2.4.0...0.0.DVXJqfulJ34

    Hamletdirected by Franco Zeffirelli (YouTube). To be or not to be [] Soliloquy.http://www.youtube.com/watch?v=Vf2TpWsPvgI

    Hamletdirected by Franco Zeffirelli (YouTube), 3.4.http://www.youtube.com/watch?v=a38HZFbhB-M

    * * *

    http://www.youtube.com/watch?v=1kuF1-tyaAE&feature=relmfuhttp://www.youtube.com/watch?v=9OKGnrE8Sqohttp://www.youtube.com/watch?v=9OKGnrE8Sqohttp://www.youtube.com/watch?v=9OKGnrE8Sqohttp://www.youtube.com/watch?v=xYZHb2xo0OIhttp://www.youtube.com/results?search_query=hamlet+kenneth+branagh&oq=hamlet+kenneth+branagh&aq=f&aqi=p-p1g8&aql=&gs_l=youtube.3..35i39j0l8.6719.7412.0.8226.8.4.0.0.0.1.160.442.2j2.4.0...0.0.DVXJqfulJ34http://www.youtube.com/results?search_query=hamlet+kenneth+branagh&oq=hamlet+kenneth+branagh&aq=f&aqi=p-p1g8&aql=&gs_l=youtube.3..35i39j0l8.6719.7412.0.8226.8.4.0.0.0.1.160.442.2j2.4.0...0.0.DVXJqfulJ34http://www.youtube.com/results?search_query=hamlet+kenneth+branagh&oq=hamlet+kenneth+branagh&aq=f&aqi=p-p1g8&aql=&gs_l=youtube.3..35i39j0l8.6719.7412.0.8226.8.4.0.0.0.1.160.442.2j2.4.0...0.0.DVXJqfulJ34http://www.youtube.com/watch?v=Vf2TpWsPvgIhttp://www.youtube.com/watch?v=a38HZFbhB-Mhttp://www.youtube.com/watch?v=a38HZFbhB-Mhttp://www.youtube.com/watch?v=Vf2TpWsPvgIhttp://www.youtube.com/results?search_query=hamlet+kenneth+branagh&oq=hamlet+kenneth+branagh&aq=f&aqi=p-p1g8&aql=&gs_l=youtube.3..35i39j0l8.6719.7412.0.8226.8.4.0.0.0.1.160.442.2j2.4.0...0.0.DVXJqfulJ34http://www.youtube.com/results?search_query=hamlet+kenneth+branagh&oq=hamlet+kenneth+branagh&aq=f&aqi=p-p1g8&aql=&gs_l=youtube.3..35i39j0l8.6719.7412.0.8226.8.4.0.0.0.1.160.442.2j2.4.0...0.0.DVXJqfulJ34http://www.youtube.com/results?search_query=hamlet+kenneth+branagh&oq=hamlet+kenneth+branagh&aq=f&aqi=p-p1g8&aql=&gs_l=youtube.3..35i39j0l8.6719.7412.0.8226.8.4.0.0.0.1.160.442.2j2.4.0...0.0.DVXJqfulJ34http://www.youtube.com/watch?v=xYZHb2xo0OIhttp://www.youtube.com/watch?v=9OKGnrE8Sqohttp://www.youtube.com/watch?v=1kuF1-tyaAE&feature=relmfu
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    4. UNIT4MACBETH

    4.1. CONTENTS

    4.1. Macbeth: Historical and Literary Contexts4.1.1. Date4.1.2. The interest in Macbeths story during Shakespeares time4.1.3. Main Sources of Macbeth

    4.2. Critical Approaches to Macbeth4.2.1. Some critical approaches from the seventeenth to the first half of the twentieth century.4.2.2. Contemporary Critical Approaches to Macbeth: Janet Adelman and Alan Sinfield.

    4.3. Textual Analysis

    4.2. AIMS AND OBJECTIVES

    UNIT 4 is devoted to the analysis of one of Shakespeares greatest tragedies: Macbeth. The unit individed into three sections:

    a. The first one offers information about the historical and textual contexts of the play. The analysis ofMacbethand its contexts locates the play within the social and political circumstances of the period in which itwas composed. This section presents the play as a text of its age.

    b. The second section deals with a selection of critical studies about Macbeth written since theseventeenth century. Traditional analyses such as Bradleys and Knights are of great interest since they give

    a complete overview of the main themes and images used by Shakespeare and, therefore, they work asexcellent introductions to the play. As regards the contemporary approaches to the play, the section offers asummary of the critical writings about Macbethby two crucial Shakespearean critics: Janet Adelman and AlanSinfield, representatives of the way contemporary critical approaches such as gender studies, psychoanalysisor cultural materialism examine Macbeth.

    c. The third section is entirely devoted to the textual analysis of Macbeth. It deals with the analysis ofits main themes and images by offering textual evidence to illustrate them.

    4.3. COMPULSARY READING MATERIAL

    Critical Approaches to Shakespeare. Shakespeare for all time. Unit 4.

    BRAUNMULLER, A. R. (ed.) 2008 (1997). Macbeth. The New Cambridge Shakespeare. 2nd ed. Cambridge:Cambridge University Press.

    4.4.EXTENDED LIST OF TEXT RESOURCES

    This is intended only for students willing to go into central aspects of the subject for future researchas postgraduate students. The information provided by the books listed below is not necessary in order to

    obtain full marks (10) in this subject course, but it is recommended as a basic reading list to all those studentswho plan to study a Master and focus on Renaissance drama and Shakespeare studies.

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    ADELMAN, Janet (1996). Born of Woman: Fantasies of Maternal Power in Macbeth. Eds. Shirley NelsonGarner and Madelon Sprengnether. Shakespearean Tragedy and Gender. Bloomington andIndianapolis: Indiana University Press. 105-34.

    BRADLEY, A. C. 1992 (1904). Lecture IX. Macbeth. Shakespearean Tragedy. London: Macmillan. 290-321.Online (London: Macmillan, 2nd ed., 1905, rptd. 1937, 79-128):http://archive.org/details/cu31924013159920.

    BROOKS, Cleanth 1980 (1968). The Naked Babe and the Cloak of Manliness. Shakespeare. Macbeth. Ed.John Wain. London and Basingstoke: Macmillan. 183-201.

    BULLOUGH, Geoffrey (ed.) 1978 (1973). Narrative and Dramatic Sources of Shakespeare.Vol.VII. London:Routledge and Kegan Paul / New York: Columbia University Press.

    KNIGHT, G.Wilson 1995 (1930). Macbethand the Metaphysic of Evil. The Wheel of Fire. Interpretations ofShakespearian Tragedy. London and New York: Routledge. 141-59. Online (Cleveland, Ohio:Meridian Books, 1957, rptd. 1964): http://archive.org/details/wheeloffire001890mbp.

    SINFIELD, Alan 1994 (1992). History, Ideology and Intellectuals. Eds. Richard Wilson and Richard Dutton.New Historicism and Renaissance Drama. London and New York: Longman. 167-80.

    TILLYARD, E. M. W. 1990 (1943). Macbeth. Shakespeares History Plays.Harmondsworth: Penguin Books.319-22.

    4.5. STUDY GUIDELINES

    Students should follow the learning activities pointed out in Section 1.STUDY PLAN:DESCRIPTION OFTHE COURSE AND LEARNINGACTIVITIES and described in Section 5. PLAN STUDY GUIDE.As in the case ofHamlet, the first recommendation is that students read the play before reading the unit. Reading the works ofliterature greatly simplifies learning the theoretical explanations since it allows students to determine therelevant ties between each of them and the text quickly. After reading the unit, they should read the playagain since they will enjoy this second reading much more and will discover new aspects of the play that werenot perceived the first time.

    The assimilation of the information of the first two units is also vital in order to study the section oncritical approaches to Macbeth. The footnotes constitute another very important source of information. Theyclarify certain issues and they point out the sources from which students can obtain more information aboutimportant themes of the play. They also refer to lines of Macbeththat illustrate the topics the unit is dealingwith. Many of the footnotes direct the student to the introduction to The New Cambridge Shakespeare

    edition of Macbethedited by A. R. Braunmuller (2008) (ISBN 0521680980). This is the set edition that willbe used in the unit and its notes are essential in order to understand the action and meaning of many scenes.The notes to the play are also a relevant source of information.

    4.6. COMPLEMENTARY EXERCISES

    Doing the exercises presented in the sections of SELF-ASSESSMENT QUESTIONS, COMPLEMENTARYEXERCISES,FURTHER KNOWLEDGEEXERCISESand KEY TERMS, that the students can find after each unit in thetextbook Critical Approaches to Shakespeare. Shakespeare for All Timewill help them measure their own

    acquisition of skills and achievement of learning results. They are also encouraged to improve theirknowledge of the play by watching scenes of Macbethon the following websites:

    http://archive.org/details/cu31924013159920http://archive.org/details/wheeloffire001890mbphttp://archive.org/details/wheeloffire001890mbphttp://archive.org/details/cu31924013159920
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    Royal Shakespeare Company (RSC). Macbeth(YouTube), 1.5.http://www.youtube.com/watch?v=EU3U012X61E

    Royal Shakespeare Company (RSC). Macbeth. (YouTube), 2.2.http://www.youtube.com/watch?v=WAojuVbKQtg

    Royal Shakespeare Company (RSC). Macbeth. TV version of Trevor Nunns production by the RoyalShakespeare Company (RSC), with Ian McKellen (Act 5.5.: Tomorrow, and tomorrow, and tomorrow):http://www.youtube.com/watch?v=4LDdyafsR7g

    Roman Polanskis Macbeth (1971). The Witches Opening (YouTube):http://www.youtube.com/watch?v=WZcFnZ2ZMR0

    * * *

    http://www.youtube.com/watch?v=EU3U012X61Ehttp://www.youtube.com/watch?v=WAojuVbKQtghttp://www.youtube.com/watch?v=WAojuVbKQtghttp://www.youtube.com/watch?v=4LDdyafsR7ghttp://www.youtube.com/watch?v=WZcFnZ2ZMR0http://www.youtube.com/watch?v=WZcFnZ2ZMR0http://www.youtube.com/watch?v=WZcFnZ2ZMR0http://www.youtube.com/watch?v=WZcFnZ2ZMR0http://www.youtube.com/watch?v=WZcFnZ2ZMR0http://www.youtube.com/watch?v=4LDdyafsR7ghttp://www.youtube.com/watch?v=WAojuVbKQtghttp://www.youtube.com/watch?v=EU3U012X61E
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    5. STUDYPLANGUIDE

    5.1.LEARNING ACTIVITIES

    To ensure each unit is studied properly, students must complete the following LEARNING ACTIVITIESinthe order they are given. At the start of the course, students must understand the objectives of all the learningactivities specified in the study plan:

    1. Carefully read the informationon each unit provided in this Study Guide to find out whichreadings are compulsory, what the objectives and potential difficulties of each unit are and what supplementalmaterial is available. The aim of this learning activity is to help students to organise their studies effectivelyfrom the start of the course so that they can take full advantage of their time and, consequently, obtain thebest possible results. This will allow them to determine which aspects they find most difficult based on theirknowledge of each topic covered in the course.

    2. First close reading of t he unit. The goal is for students to familiarise themselves with the materialthey have to study and to obtain information that will help with the compulsory readings, HamletandMacbeth,which constitute the foundation of the course. (In the case of Units 3 and 4 the student should read the playsbeforehand).

    3. Thorough comprehension of the compulsory material for each unit as well as the differentcritical perspectives of the texts covered in each topic. Close reading of the Selection of Texts section and ofHamletand Macbethis a core part of the course and will help show students that what is most important isnot the memorisation of concepts, but the reflection on these ideas and their application to the texts.

    As stated above, in the case of Units 3 and 4, it is recommended that students first do a quickpreliminary reading in order to become familiar with the text and understand the plot of the play.

    Then they should read the text again carefully and closely, stopping to look up new words in thedictionary and to take note of everything they find interesting such as the characters, formal elements, stylisticdevices, recurrent metaphors and semantic fields, dramatic strategies and conventions, the use of narrationin the dialogues of the characters, literary allusions etc.

    Students must analyse the texts and study the language as well as the rhetorical and stylistictechniques used by the Shakespeare and their role in the possible objectives of the plays. In the exam,students wil l be required to analyse a text. In their analysis they will have to answer a series of questions

    related to the main contents of the text and they must always establish cogent links between the stylisticdevices used and the roles these rhetorical and linguistic strategies play in addition to which effects theyproduce throughout the text.

    Students are encouraged not to limit themselves to the information indicated in the unit but to readother materials they find interesting and that are noted in the introductions and footnotes of the set Hamletand Macbetheditions.

    4.After students have carefully read the compulsory material, they should re-read and study theunit. The explanations provided in the units help students to situate the compulsory readings within theirsocial and literary contexts, facilitating their comprehension. Students must always try to identify how the

    compulsory material clearly and concisely illustrates the theoretical concepts discussed in the units.

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    5. Interaction with the teaching team. To ensure a positive and successful distance-learningexperience, students can contact on line the teaching staff (Dr Marta Cerezo and teaching assistant JessCora), who will help them resolve any course-related queries which may require a more in-depth explanationsuited to their specific needs. The teaching staff will motivate students to develop their critical-thinking skillsand also fuel their interest in Shakespeares work.

    6.Participation in debates and discussions in theonline discussion rooms. The goal here is toencourage students to study and exchange ideas and, in general, to provide a place for students living eitherin Spain or abroad to interact with their peers and teachers. The online discussion rooms serve as an openplatform where students can freely share their opinions about, interpretations of and information on theliterary texts they are studying. This fosters collaborative learning, one of the main goals of the BolognaProcess and promotes diversity. The framework provided by the online discussion rooms contributes to thedevelopment of students' reflective-thinking skills. The support learning material and critical-thinking activitiesoffered in this course are designed to spark students' interest in topics that integrate literature into the social,cultural and political world around them. The focus on poststructuralist critical approaches merges the pastwith the present and literary analysis with ideological debate. If the online discussion rooms are a dynamiccommunication and learning tool, they can favour a positive learning environment for students and help tobuild up their confidence levels.

    7. Self-evaluation exercises. At the end of UNITS 1and2 there is a section with SELF-ASSESSMENTQUESTIONS and a COMPLEMENTARY EXERCISE. At the end of UNITS 3 and 4 there is a section with SELF-ASSESSMENT QUESTIONSand a FURTHER KNOWLEDGE EXERCISE. The questions asked in these sections aresimilar to those that will appear in the exams as they focus on the most important aspects of the units andcompulsory reading. Students are encouraged to answer all questions in order to improve their understandingof the contents of all the units. It is recommended that students do all the exercises that correspond to eachunit once they have finished studying it. Thus the material will be fresh and completing the assignments will

    allow them to determine how well they have understood and assimilated the information. They are thenadvised to check their answers against the course guidelines. Lastly, they should incorporate any correctionsand make a final draft to check their own work against the model answers once they are available online onthe course platform.

    8. Prueba de Evaluacin Continua (PEC).The purpose of the PEC is for students to acquireknowledge in an organised fashion, following a gradual learning process. Completing them without the help ofany notes or supplementary material is a valuable learning experience and gives students the opportunity toassess their comprehension, assimilation and ability to analyse and discuss the unit-related content andcompulsory readings.

    The PEC will be posted on the virtual course during Week 9 of the schedule. Students will beprovided with one text from Hamletand another one from Macbeth. Students will have to choose one of thesetexts and make a commentary by answering several questions about the fragment. Thus, the PEC will followthe same format as the Further Knowledge Exercises of Units 3 and 4.

    The assignment must be uploaded in Word format to the Entrega de Trabajos section on the aLFplatform before Monday 6thJanuary 2015. It will be marked by the intercampus tutor before Monday 19thJanuary 2015. Once they are corrected and marked, the intercampus tutor will post the students' marks onthe same online platform. Students will be able to access their marks and evaluation comments on theirassignments in the same section of the aLF platform.

    The PECis not compulsory in order to pass the subject, but it will be necessary if students aim at

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    obtaining more than 8 points in their final mark.

    If students decide not to turn them in, they can still use them as self-evaluation exercises that can bechecked against the model answers that will be made available online after the corresponding deadline forthe PEC (Monday 6thJanuary 2015). In this case, the final mark will be determined only by their results on theexam in the First Semester (late January or early February depending on the exam you choose to sit for theexam) or in September. In this case full markswill be 8points corresponding to the maximum mark ofthe exam, the exam being marked out of 8 points (not handing in the PEC means that you forfeit 20% ofthe final mark, i.e. 2 points).

    On the other hand, students may hand their PEC in to the intercampus tutor so that he can mark them ascontinuous-assessment exercises, in which case the PEC mark given by the intercampus tutor will make up20% of the final mark. The marks received on these exercises, along with the one from the exam students sit,will be used to calculate their final mark. In this case the examwill also be marked out of 8 points, but tothis mark a maximum of 2 pointswill be added up in accordance to the mark obtained in the PEC.

    Examples:

    Student who submits the PEC:PEC mark: 8 out of 10 (1.6 points out of the maximum of 2 points)Exam mark: 6 out of 8Final mark: 6 + 1.6 = 7.6

    Student who does not submit the PEC:PEC mark: - (no option to the maximum of 2 points)

    Exam mark: 6 out of 8Final mark: 6

    5.2.ASSESSMENT OF THE WRITTEN EXAM (PRUEBA PRESENCIAL)AND MARKING CRITERIA

    The assessment of the course will be based on the PEC and the final evaluation in the form of a writtenexamor prueba presencialthat you will take in your local Centro Asociado on the dates indicated in theofficial UNED exams calendar in January or February and September (this is a first-term subject, so there areno May-June exams, there are only January-February exams and then the September exams).

    This exam will be divided into two parts. Part Onewill consist in a textual analysis through precisequestions on a fragment from one of the compulsory readings studied during the course. In Part Two,students will be asked to answer two theoretical questions out of three. Students will be awarded a maximumof 4 points for the textual analysis and 2 points for every question from Part Two.

    Assessment of the written exam will be based on the following marking criteria:

    1. It is compulsory to answer both parts of the exam. Those students who do leave a part of the exam orone of the questions from Part Two unanswered will fail the exam.

    2. The exam will be marked out of 8.3. Students will be expected to produce answers whose contents are correct, precise, clearly exposed

    and well structured. They will also be required to show a high command of English grammar andwritten academic discourse.

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    4. The exam is worth 80% of the final mark and the PEC is worth 20% as indicated above.5. It is necessary to pass the exam with a minimum mark of 4 points (4 out of 8) so that the exam

    mark and PEC mark are added.6. The final mark is the result of the sum of the PEC and the exam . The sum of the exam and

    PEC marks must be 5 points in order to pass.7.

    If a student does not submit the PEC, the final result o f the exam must be 5 out o f 8 points inorder to pass the subject.

    In order to achieve a good mark in the written exam it is important to take into account the following tips:

    1. Students must read carefully the formulation of the questions. Students must respond to all aspectsof the questions providing relevant arguments and material. Very often, they leave part of thequestion unanswered or make reference to other elements that are irrelevant to the proposed theme.They must make sure they restrict their answer to the proposed question.

    2. It is essential that students demonstrate a solid knowledge of the compulsory readings, HamletandMacbeth,and their main themes. Besides, they must demonstrate a solid grasp of critical concepts

    and interconnections, as they must be able to apply critical concepts to the literary texts.3. The written exams must be well presented. Students must write neatly and tidily with an effective

    organisation and clear, persuasive and logically developed arguments. They must demonstrate theirproficiency in the English language: correct spelling, punctuation, paragraph division, grammar,cohesion and coherence are demanded.

    6. GLOSSARY

    In this section the student can find the definition of basic concepts that will be dealt with throughoutthe course.

    Binary Oppositions.A structural analysis of a text aims to find the laws of parallelism, relations,equivalences, etc. by which the linguistic structures within the literary text work. The most characteristicmethod of structural analysis is the organisation of texts in binary oppositions.The concept of the binarypairs springs from the Saussurean idea that the meaning of a sign depends on its differential relationship withanother sign. For structural anthropologists, for instance, binary oppositions such as man/woman,nature/culture, light/dark, reason/passion, etc. give shape to the functioning of every culture and ultimately tothe structure of human thought. Within these pairs, the second term is always considered subordinate to thefirst one. By applying the same methods, the literary structuralist views the text in similar terms and attemptsto organise it in structured patterns able to show the relation between its hierarchical and opposite units.(Critical Approaches, p. 68)

    Carnival.Some cultural materialists have used Mikhail Bakhtins concept of Carnivalin order to seein the social phenomenon how popular culture turns into an oppositional voice to authority. This idea ofCarnivalreveals the power of popular voices to disrupt official order by mocking it and using parody and thegrotesque in order to challenge social rigidity and rules. During Carnivaleverything is subverted and turnedupside down. It symbolises the unstable nature of official power structures. (Critical Approaches, p. 90)

    Close reading.The method New Criticism used was known as close reading. It entailed a thoroughexamination of structural and stylistic elements such as words, syntax, symbolism, metaphors,characterisation, argument, setting, tone, rhythm, meter, diction, etc. These critics were determined to find outin what ways all these elements related to each other and how, as a whole, they fashioned the organic unityof the work giving it its meaning. (Critical Approaches, p. 52)

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    Cross-dressing. Boys, men and women in early modern England regularly donned the clothing ofthe opposite sex for diverse reasons and effects. It is well known, for example, that boys played womensroles in the early modern public theatre, a convention that was variously condemned, accepted andcelebrated by early modern audiences, and occasionally manipulated to spectacular effect by early modernplaywrights especially when those cross-dressed women cross-dressed again as boys in the fictionalworld of the play. It is less well known that some women evidently cross-dressed as men in the streets ofLondon Middletons play The Roaring Girl, for example, focused on the notorious career of Mary Frith, orMoll Cutpurse, a real-life thief, whore, brawler, and bawd who dressed in mens apparel. Indeed, the practiceof female transvestism was apparently so widespread that in 1620 King James ordered the clergy to inveighvehemently against the insolency of our women, and their wearing of broad brimmed hats, pointed doublets,their hair cut short or shorn, and some of them stilettoes or poniards. http://english.dal.ca/Classes/2007-08%20Upper%20Levels/4806.php(SeeCritical Approaches, pp. 105, 111, 145-155)

    Cultural materialism. Raymond Williams coined the term cultural materialism, which JonathanDollimore defines in the foreword to the first edition of Political Shakespeare. According to Dollimore, the termculture does not refer to the arts, literature, music etc. but to a whole system of significations by which asociety or a section of it understands itself and its relations with the world. The term materialism implies thatsuch a culture cannot be isolated from the material conditions of society such as politics and economy. As aconstituent part of such a culture, of such a signifying system, literature is also embedded within thesematerial ideological forces. (Critical Approaches, p. 90)

    Culture. The American cultural anthropologist Clifford Geertz exerted a great influence on newhistoricism. In The Interpretation of Cultures (1973) he defines culture as: A set of control mechanisms plans, recipes, rules, instructions (what computer engineers call programs) for the governing of behaviour... man is precisely the animal most desperately dependent upon such extragenetic, outside-the-skin control

    mechanisms, such cultural programs, for ordering his behavior. (Critical Approaches, p. 85)

    Deconstruction. Jacques Derrida opposes the metaphysical and logocentric view bydeconstructing the fictional and ideological binary oppositions, that is, by showing how there is not a cleardifferentiation between both halves of a polarity. The deconstructive analysis of such pairs will consider theirconstituents not as being antithetical but, on the contrary, as sharing similar features. By such a dismantlingof social binaries, Deconstruction can be considered as a social and political practice that breaks up thefoundation of ideological systems that favour a certain set of values while bringing others down. Derridaapplies his philosophical views to textual analysis by using as his main critical tool deconstructive readings asopposed to structuralist methods. Structuralist analysis views the text as a structured system organised inbinary oppositions such as Culture versus Nature, Order versus Disorder or Man versus Woman. Themethodical structuralist analysis systematises the text in ordered structures of meaning and renders it abearer of a stable and fixed signification. As a poststructuralist critical theory, Deconstruction questions andreacts against structuralist analysis by opposing and dismantling the idea of structure and the concept ofsteady meaning in a text. (Critical Approaches, p. 76)

    Diffrance. The French philosopher Jacques Derrida questions structuralism after exploring theimplications of Saussures idea of linguistic difference. Derrida uses the term diffrance in order to explainhis ideas on language. Diffrance is an ambiguous term. It derives from the French diffrer which meansboth to defer, postpone, delay, alluding to the nature of meaning, and to differ, be different from, hinting atthe nature of signs, and the nature of the signifiers. The duplicity of meaning of the term diffrance refers to

    the necessary connections among the units of language in a text and at the same time their distinctive nature.That is, the meaning of an element in a text depends on its correlation with other elements prior and

    http://english.dal.ca/Classes/2007-08%20Upper%20Levels/4806.phphttp://english.dal.ca/Classes/2007-08%20Upper%20Levels/4806.phphttp://english.dal.ca/Classes/2007-08%20Upper%20Levels/4806.phphttp://english.dal.ca/Classes/2007-08%20Upper%20Levels/4806.php
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    subsequent to it and its existence depends on its being distinct from these other elements. (CriticalApproaches, p. 72)

    Discourse. According to Althussers theory, human subjects are all modelled by ideology, which is

    the result of the immense social influence of what he calls Ideological State Apparatuses (ISA). Every ISAmakes use of a very specific ideological discourse, that is, it selects a certain set of ideas which areexpressed through a carefully selected language aimed to serve the purposes of the dominant classes andmaintain the status quo. Consequently, though we have the illusion that we have been free to choose ourideas and values, the fact is that they have all been imposed on us since we were born. What we consider asnatural on most occasions is just culturally constructed by discourse, by language.

    Editorial criticism. The eighteenth century is the age of the major editions of Shakespearescomplete works. The main editors of the century were the founders of Shakespeare textual criticism. Evennow we can see their names mentioned in annotated editions of Shakespeares plays. Their work consisted

    of organizing the playwrights texts by establishing what words were actually Shakespeares and by findingout textual mistakes and how these could have been made. When a play was being printed, compositorswere writing from manuscripts that were difficult to understand. They could have been reading the copy veryrapidly and a word might have slipped in. Sometimes they could have also misread the punctuation. Theeditor had to detect those mistakes in the texts. Act and scene division also derive from the early editionssince, in the Quartos and the Folios, some acts are not divided into scenes. Additionally, sometimes the editorhad to decide who said certain lines in the play since some of them appeared erroneously assigned. Thesame was the case with the stage directions. (Critical Approaches, p. 26)

    Essentialist humanism.The idea that all human beings throughout history share a common, inbornand universal human nature or essence. (Critical Approaches, p. 85)

    First-wave feminism.Pre-1960s first wave feminist criticism was highly stimulated in America andBritain by The Womens Rights and Womens Suffrage movements. First wave feminism was mainlyinterested in egalitarian social relations and, more specifically, in womens social and political benefits asindividuals and also as a collectivity. Their main concerns evolved around womens legal status such as theirright to vote, family allowances, contraception, abortion or welfare rights. They also campaigned for womensaccess to all kinds of professions and to higher education, that is to public life. They strove to change unjustsocial conditions by addressing the State since many of them thought institutions had the power to end socialinequalities by allowing women to show their potentials as citizens. Virginia Woolf (1882-1941) and Simonede Beauvoir (1908-1986) were the two leading figures writing about womens rights during this period.

    (Critical Approaches, p. 97)

    Great Chain of Being. It was the vertical picture of the world according to the Elizabethanconception about the nature of the universe. The universe was portrayed as hierarchical. Creation appearedmetaphorically as a chain where everything inanimate, animate, vegetative, sensitive, rational and angelichad its own place and function. As Tillyard remarks, the chain stretched from the foot of Gods throne to themeanest of inanimate objects. Every speck of creation was a link in the chain, and every link except those atthe two extremities was simultaneously bigger and smaller than another: there could be no gap. (Critical

    Approaches, p. 49)

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    The Great Chain of BeingFrom Didacus Valades [Diego de Valads],Rhetorica Christiana(1579).

    http://en.wikipedia.org/wiki/File:Great_Chain_of_Being_2.png

    Hybridisation. According to Bakhtin in the Discourse in the Novel in The Dialogic Imagination(1981), hybridisation is a mixture of two social languages within the limits of a single utterance, anencounter, within the arena of an utterance, between two different linguistic consciousnesses, separated fromone another by an epoch, by social differentiation or by some other factor. (Critical Approaches, p. 160)

    Ideology. Althusser defines ideology as the representation of the imaginary relationship ofindividuals to their real conditions of existence. That is, the ideological discourses gradually shape theindividuals consciousness to the extent that the relationship that it has with reality is partly an illusion and notreal. The controlling force exerted by the discourses makes the subject accept as natural certain values andideas, that is, a certain reality constructed by language so as to serve the interests of the influential andcontrolling classes. (Critical Approaches, p. 87)

    Intentional fallacy and affective fallacy.New criticism held two central theories that support suchview: the so-called intentional fallacy and affective fallacy. The former sustains that the authors intentionmust be disentangled from the meaning of the text. The latter proclaims that we should not interpret a textaccording to its readers responses. That is, new criticism was against biographical and subjective analysis ofthe texts. (Critical Approaches, p. 52)

    Logocentrism. Derrida uses the term diffrance in opposition to the notion of logocentrism. He

    applies his linguistic theory to philosophical interpretations of his own worldview. Derrida bases his analysis oflogocentrism on the traditional Western idea that language acts as the reflection of external ideas as

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    opposed to Saussures notion that language produces reality and does not reflect it. Derrida considers aslogocentric those forms of thought whose beliefs and modes of behaviour are ruled by some external pointof reference. Using linguistic terms, Derrida metaphorically sees these types of society as languages whosediverse elements are in search of a transcendental, a final signified, namely God, Truth, the Idea, the Self,etc., to which all signifiers are referring. This transcendental signified is considered as The Meaning, TheSign around which the whole structure of that language, of that system of thought, of that society, isorganised. (Critical Approaches, p. 75)

    Metatheatricality.The word metatheatre comes from the Greek prefix meta, which implies a levelbeyond the subject that it qualifies; metatheatricality is generally agreed to be a device whereby a playcomments on itself, drawing attention to the literal circumstances of its own production, such as the presenceof the audience or the fact that the actors are actors, and/or the making explicit of the literary artifice behindthe production.http://en.wikipedia.org/wiki/Metatheatre(See Critical Approaches, p. 224)

    Neo-classical criticism. The seventeenth century does not offer many critical writings on

    Shakespeares works. However, it is necessary to know the critical stance of authors and critics such as BenJonson (1572/3-1637), John Dryden (1631-1700) or Thomas Rymer (1641-1713), since they constitute thecritical basis from which the more prolific eighteenth-century Shakespearean criticism would arise. Thesecritics abide by neo-classical norms against which drama is measured during that century. Neo-classicismrevered the classics and the tradition and put value on literary rules, conventions and decorum. These criticsdescribe the prescriptions of what poetry should be by implementing Aristotelian and Horatian dramatic rules.(Critical Approaches, p. 21)

    New Criticism.New criticism was a critical theory developed by a group of American critics. It wasvery influential from the 40s to the 60s. This approach can be classified as Formalist since it concentrated onthe analysis of the form and structure of the work, that is, the organisation of its meaning. The new critics put

    emphasis on the text, which was considered an autonomous entity. The text was analysed in isolation sincethey believed historical or social contexts were irrelevant to its meaning. The meaning, for the new critics, iswithin the text itself. (Critical Approaches, p. 52)

    New Historicism. By the early 1980s, new historicism, also known as the return of history, emergedas a poststructuralist approach that introduced a ground-breaking system of historical analysis ofRenaissance literary texts. American new historicists such as Stephen Greenblatt, Louis Montrose, JonathanGoldberg, Stephen Orgel or Leonard Tennenhouse, and British new historicists, also known as culturalmaterialists, such as Jonathan Dollimore, Alan Sinfield, Catherine Belsey, Francis Barker or RaymondWilliams, among many others, opposed the historical analysis developed by Tillyard in the 1940s. (Critical

    Approaches, p. 80)

    Poetics.In some ways, literary structuralism could resemble the formalist methods of new criticismand its rejection of the so-called intentional and affective fallacies. However, we have to bear in mind thatwhereas new critics intend to find an organic unity, a coherence, a central and single meaning in a text,structuralists disregard the referential dimension and centre on the analysis of the relationship betweensignifiers, while rejecting the search for a final and unifying signified or meaning that could relate the text to anexternal reality. For the structuralists, a literary text is viewed as a closed system of signs organised andstructured like language. One of the main aims of structuralists is to bring to light the underlying set of rulesthat presides over all works of literature. Such a set of rules is viewed as a general science of literature calledpoetics and is based on the Saussurean delineation between langue and parole. Structuralists regard

    every literary work as an example of parole or individual use of language that holds the underlying andconstant rules and structures that belong to a general grammar of literature or general literary langue. The

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    structuralists purpose is to analyse the way in which such rules take shape in every single literary work.(Critical Approaches, p. 67)

    Poetics of culture.Deeply influenced by Foucault, in Shakespearean Negotiations(1988), StephenGreenblatt, founding figure of new historicism, defines the text, and more specifically the Renaissance play,not as the central, stable locus of theatrical meaning, but as the site of institutional and ideologicalcontestation. Greenblatt views the plays as historical monuments. That is, the plays hold a series ofcollective beliefs inherent to different discursive practices that are all interconnected and dependent on eachother and participate in the construction of the ideology of a certain social formation. The aim of the critic is touncover such relations. Such an interpretative practice is defined by Greenblatt as a poetics of culture.(Critical Approaches, p. 82)

    Postcolonialism. By legitimating invasion and exploitation of inhabited lands, colonialism worksthrough a set of social, economic, political, cultural or religious mechanisms of control. These mechanismswork over colonised citizens considered as inferior and different from ruling colonisers who regard inequalityas the basis of the social structure of the colony. Postcolonialism works as a response to colonialism and alsoto any form of human exploitation and domination. It has been an important field of study since the 1970s,especially since the publication of Edward Saids Orientalism in 1978. Postcolonial Studies, which wereconsolidated by Bill Ashcroft, Gareth Griffiths, and Helen Tiffins The Empire Writes Back: Theory andPractice in Post-Colonial Literatures(1989), constitute a powerful intellectual and critical movement, whichcentres on the relationship between European colonisers and the colonised societies in the modern age.They are usually known to oppose imperialism and Euro-centrism and they refer both to the periods beforeand after the independence of the colonies. (Critical Approaches, p. 158)

    Poststructuralism.Poststructuralism is a system of thought that questions certain key