The Great White Bard
How to Love Shakespeare While Talking About Race
(Sprache: Englisch)
Shakespeare: increasingly irrelevant or lone literary genius of the Western canon?
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Shakespeare: increasingly irrelevant or lone literary genius of the Western canon?
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SHAKESPEARE: increasingly irrelevant or lone literary genius of the Western canon?'Powerful and illuminating' James Shapiro, author of 1599: A Year in the Life of William Shakespeare, winner of the Baillie Gifford 'Winner of Winners' 2023
Professor Farah Karim-Cooper grew up loving the Bard, perhaps because Romeo and Juliet felt Pakistani to her. But why was being white as a 'snowy dove' essential to Juliet's beauty?
Combining piercing analysis of race, gender and otherness in beloved plays from Othello to The Tempest with a radical reappraisal of Elizabethan London, The Great White Bard entreats us neither to idealise nor to fossilise Shakespeare but instead to look him in the eye and reckon with the discomforts of his plays, playhouses and society.
If we persist in reading Shakespeare as representative of only one group, as the very pinnacle of the white Western canon, then he will truly be in peril. But if we dare to bring Shakespeare down from his plinth, we might unveil a playwright for the twenty-first century. We might expand and enrich his extraordinary legacy. We might even fall in love with him all over again.
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A TIME MAGAZINE BOOK OF THE YEAR 2023
'Insightful, passionate, piled with facts and has a warm, infectious love for theatre and Shakespeare running through every chapter.' ADRIAN LESTER, CBE
'Dive in and your whole cultural landscape will be refreshed and reframed... A challenging, riveting read, The Great White Bard reminds us how powerful the stories we tell can be on our lives.' ADJOA ANDOH
'Vivid... a thorough analysis but also a kind of love letter... Karim-Cooper sees Shakespeare as holding a mirror to this society, with his plays interrogating live issues around race, identity and the
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colonial enterprise... Her arguments come to feel essential and should be absorbed by every theatre director, writer, critic, interested in finding new ways into the work.' GUARDIAN
'There are plenty of books on Shakespeare: but this one is different. This is Shakespeare as we've (most of us) never been willing to see him - and the works emerge from the analysis as newly complicit, powerful and yet recuperative.' EMMA SMITH, AUTHOR OF PORTABLE MAGIC
'There are plenty of books on Shakespeare: but this one is different. This is Shakespeare as we've (most of us) never been willing to see him - and the works emerge from the analysis as newly complicit, powerful and yet recuperative.' EMMA SMITH, AUTHOR OF PORTABLE MAGIC
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Autoren-Porträt von Farah Karim-Cooper
Farah Karim-Cooper is Professor of Shakespeare Studies, King's College London and Co-Director of Education at Shakespeare's Globe, where she has worked for over sixteen years. Farah has recently served as President of the Shakespeare Association of America and is on the Advisory Council for the Warburg Institute and the Council for the Society of Renaissance Studies. She led the architectural enquiries into early modern theatres at Shakespeare's Globe, overseeing the research into the design and construction of the Sam Wanamaker Playhouse, the Globe's indoor Jacobean theatre. She has written two Shakespearean scholarship books published by Arden, and published over 40 chapters in books, reviews and articles and is a General Editor for Arden's Shakespeare in the Theatre series.
Bibliographische Angaben
- Autor: Farah Karim-Cooper
- 2023, Maße: 16,2 x 24 cm, Gebunden, Englisch
- Verlag: Oneworld Publications
- ISBN-10: 0861545346
- ISBN-13: 9780861545346
- Erscheinungsdatum: 24.07.2023
Sprache:
Englisch
Pressezitat
'Vivid... a thorough analysis but also a kind of love letter... Karim-Cooper sees Shakespeare as holding a mirror to this society, with his plays interrogating live issues around race, identity and the colonial enterprise. Her critique is at its most absorbing and original when she shows how complicated his approach was... Her arguments come to feel essential and should be absorbed by every theatre director, writer, critic, interested in finding new ways into the work.' -Guardian
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