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Shakespearean Genealogies of Power : a Whispering of Nothing in Hamlet, Richard II, Julius Caesar, Macbeth, The Merchant of Venice, and The Winter's Tale.

Shakespearean Genealogies of Power proposes a new view on Shakespeare's involvement with the legal sphere: as a visible space between the spheres of politics and law and well able to negotiate legal and political, even constitutional concerns, Shakespeare's theatre opened up a new perspect...

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Detalles Bibliográficos
Clasificación:Libro Electrónico
Formato: Electrónico eBook
Idioma:Inglés
Publicado: Taylor & Francis 2010.
Temas:
Acceso en línea:Texto completo

MARC

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245 0 0 |a Shakespearean Genealogies of Power :  |b a Whispering of Nothing in Hamlet, Richard II, Julius Caesar, Macbeth, The Merchant of Venice, and The Winter's Tale. 
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505 0 |a Cover -- Title -- Copyright -- Contents -- Acknowledgements -- The Argument -- CHAPTER 1 Perpetuum Mobile: Shakespeares Perpetual Renaissance -- CHAPTER 2 The Ghost of History: Hamlet and the Politics of Paternity -- CHAPTER 3 Lethes Wharf: Wild Justice, the Purgatorial Supplement -- CHAPTER 4 Richard II, Bracton, and the End of Political Theology -- CHAPTER 5 The Death of a Shifter: Jupiterian History in Julius Caesar -- CHAPTER 6 The Future of Violence: Machiavelli and Macbeth -- CHAPTER 7 A Whispering of Nothing: The Winters Tale -- Tailpieces -- CHAPTER 8 But Mercy is Above: Shylocks Pun of a Pound -- CHAPTER 9 Habeas Corpus: The Laws Desire to Have the Body -- Notes -- Names, Words, and Things. 
520 |a Shakespearean Genealogies of Power proposes a new view on Shakespeare's involvement with the legal sphere: as a visible space between the spheres of politics and law and well able to negotiate legal and political, even constitutional concerns, Shakespeare's theatre opened up a new perspective on normativity. His plays reflect, even create, "history" in a new sense on the premises of the older conceptions of historical and legal exemplarity: examples, cases, and instances are to be reflected rather than treated as straightforwardly didactic or salvific. Thus, what comes to be recognized, reflected and acknowledged has a disowning, alienating effect, whose enduring aftermath rather than its theatrical immediacy counts and remains effective. In Shakespeare, the law gets hold of its normativity as the problematic efficacy of unsolved - or rarely ever completely solved - problems: on the stage of the theatre, the law has to cope with a mortgage of history rather than with its own success story. The exemplary interplay of critical cultural and legal theory in the twentieth-century - between Carl Schmitt and Hans Kelsen, Walter Benjamin and Ernst Kantorowicz, Hans Blumenberg and Giorgio Agamben, Robert Cover and Niklas Luhmann - found in Shakespeare's plays its speculative instruments. 
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