Four Shakespearean Period Pieces

Shakespeare's place in history has been traditionally defined by four key concepts: chronology, periodization, secularization, and anachronism. Recent theoretical work has challenged these concepts and proposed anachronisms as alternatives to the traditional order of time. At the same time, chronology and periods are criticized for distorting the past they represent, and secularization no longer holds the same influence over the past and present. Shakespearean Period Pieces examines these concepts and their impact on the reading, editing, and staging of Shakespeare, suggesting that while they may be fraught, they continue to regulate the canon's afterlife.

Format: Hardback
Length: 224 pages
Publication date: 03 May 2021
Publisher: The University of Chicago Press

Since the eighteenth century, scholars have studied Shakespeare using four key concepts: chronology, periodization, secularization, and anachronism. These concepts have helped to place Shakespeare in historical context, but recent theoretical work has called for their reappraisal. Anachronisms, once considered errors in the order of time, are now being celebrated as alternatives to that order. Conversely, chronology and periods, which have been the pillars of Shakespearean studies, are now accused of distorting the past they have been entrusted to represent. Secularization, once seen as the driving force of the modern era, no longer holds sway over the past or the present.

In light of this reappraisal, the question arises: can Shakespeare studies continue unshaken? This is the question that Margreta de Grazia's book, Four Shakespearean Period Pieces, takes up. The book devotes a chapter to each term: the rise of anachronism, the chronologizing of the canon, the staging of plays "in period," and the use of Shakespeare in modernity's secularizing project.

To read these chapters is to come away newly alert to how these fraught concepts have served to regulate the canons afterlife. De Grazia does not entirely abandon them but deftly works around and against them to offer fresh insights on the reading, editing, and staging of Shakespeare at the heart of our literary canon.

One of the key insights offered by the book. De Grazia is that anachronism is not necessarily a mistake but can be a valuable tool for understanding Shakespeare's plays. Anachronism refers to the use of elements or ideas from a different time period in a play, which can create a sense of dislocation or tension between the characters and the audience. By exploring anachronism, scholars can gain new insights into the social, political, and cultural context of Shakespeare's plays and how they relate to contemporary issues.

Another important insight offered by the book
De Grazia is that chronology. Chronology and periods have been used to regulate the canons afterlife, but they have also been criticized for their Eurocentric bias and their tendency to essentialize Shakespeare's works. De Grazia argues that by challenging these assumptions, scholars can gain a more nuanced understanding of Shakespeare's plays and their relevance to different cultures and time periods.

The book also explores the staging of plays "in period," which refers to the practice of producing plays that are set in a specific historical period. De Grazia argues that by staging plays "in period," scholars can create a more immersive experience for the audience and help them to better understand the social, political, and cultural context of the play. However, she also notes that this practice can be problematic if it is used to essentialize or flatten the historical period, or if it is used to exclude certain groups of people from the historical narrative.

Finally, the book explores the use of Shakespeare in modernity's secularizing project. De Grazia argues that Shakespeare has been used by various modern movements.

To read these chapters is to come away newly alert to how these fraught concepts have served to regulate the canons afterlife. De Grazia does not entirely abandon them but deftly works around and against them to offer fresh insights on the reading, editing, and staging of Shakespeare at the heart of our literary canon.

One of the key insights offered by the book is that anachronism is not necessarily a mistake but can be a valuable tool for understanding Shakespeare's plays. Anachronism refers to the use of elements or ideas from a different time period in a play, which can create a sense of dislocation or tension between the characters and the audience. By exploring anachronism, scholars can gain new insights into the social, political, and cultural context of Shakespeare's plays and how they relate to contemporary issues.

Another important insight offered by the book is that chronology. Chronology and periods have been used to regulate the canons afterlife, but they have also been criticized for their Eurocentric bias and their tendency to essentialize Shakespeare's works. De Grazia argues that by challenging these assumptions, scholars can gain a more nuanced understanding of Shakespeare's plays and their relevance to different cultures and time periods.

The book also explores the staging of plays "in period," which refers to the practice of producing plays that are set in a specific historical period. De Grazia argues that by staging plays "in period," scholars can create a more immersive experience for the audience and help them to better understand the social, political, and cultural context of the play. However, she also notes that this practice can be problematic if it is used to essentialize or flatten the historical period, or if it is used to exclude certain groups of people from the historical narrative.

Finally, the book explores the use of Shakespeare in modernity's secularizing project. De Grazia argues that Shakespeare has been used by various modern.

To read these chapters is to come away newly alert to how these fraught concepts have served to regulate the canons afterlife. De Grazia does not entirely abandon them but deftly works around and against them to offer fresh insights on the reading, editing, and staging of Shakespeare at the heart of our literary canon.

One of the key insights offered by the book. De Grazia is that anachronism is not necessarily a mistake but can be a valuable tool for understanding Shakespeare's plays. Anachronism refers to the use of elements or ideas from a different time period in a play, which can create a sense of dislocation or tension between the characters and the audience. By exploring anachronism, scholars can gain new insights into the social, political, and cultural context of Shakespeare's plays and how they relate to contemporary issues.

Another important insight offered by the book
De Grazia is that chronology period. Chronology and periods have been used to regulate the canons afterlife, but they have also been criticized for their Eurocentric bias and their tendency to essentialize Shakespeare's works. De Grazia argues that by challenging these assumptions, scholars can gain a more nuanced understanding of Shakespeare's plays and their relevance to different cultures and time periods.

The book also explores the staging of plays "in period," which refers to the practice of producing plays that are set in a specific historical period. De Grazia argues that by staging plays "in period," scholars can create a more immersive experience for the audience and help them to better understand the social, political, and cultural context of the play. However, she also notes that this practice can be problematic if it is used to essentialize or flatten the historical period, or if it is used to exclude certain groups of people from the historical narrative.

Finally, the book explores the use of Shakespeare in modernity's secularizing project. De Grazia argues that Shakespeare has been used by various modern.

To read these chapters is to come away newly alert to how these fraught concepts have served to regulate the canons afterlife. De Grazia does not entirely abandon them but deftly works around and against them to offer fresh insights on the reading, editing, and staging of Shakespeare at the heart of our literary canon.

One of the key insights offered by the book. De Grazia is that anachronism is not necessarily a mistake but can be a valuable tool for understanding Shakespeare's plays. Anachronism refers to the use of elements or ideas from a different time period in a play, which can create a sense of dislocation or tension between the characters and the audience. By exploring anachronism, scholars can gain new insights into the social, political, and cultural context of Shakespeare's plays and how they relate to contemporary issues.

Another important insight offered by the
De Grazia is that chronology and periods have been used to regulate the canons afterlife, but they have also been criticized for their Eurocentric bias and their tendency to essentialize Shakespeare's works. De Grazia argues that by challenging these assumptions, scholars can gain a more nuanced understanding of Shakespeare's plays and their relevance to different cultures and time periods.

The book also explores the staging of plays "in period," which refers to the practice of producing plays that are set in a specific historical period. De Grazia argues that by staging plays "in period," scholars can create a more immersive experience for the audience and help them to better understand the social, political, and cultural context of the play. However, she also notes that this practice can be problematic if it is used to essentialize or flatten the historical period, or if it is used to exclude certain groups of people from the historical narrative.

Finally, the book explores the use of Shakespeare in modernity's secularizing project. De Grazia argues that Shakespeare has been used by various modern.

To read these chapters is to come away newly alert to how these fraught concepts have served to regulate the canons afterlife. De Grazia does not entirely abandon them but deftly works around and against them to offer fresh insights on the reading, editing, and staging of Shakespeare at the heart of our literary canon.

One of the key insights offered by the book. De Grazia is that anachronism is not necessarily a mistake but can be a valuable tool for understanding Shakespeare's plays. Anachronism refers to the use of elements or ideas from a different time period in a play, which can create a sense of dislocation or tension between the characters and the audience. By exploring anachronism, scholars can gain new insights into the social, political, and cultural context of Shakespeare's plays and how they relate to contemporary issues.

Another important insight offered by the
De Grazia is that chronology period. Chronology and periods have been used to regulate the canons afterlife, but they have also been criticized for their Eurocentric bias and their tendency to essentialize Shakespeare's works. De Grazia argues that by challenging these assumptions, scholars can gain a more nuanced understanding of Shakespeare's plays and their relevance to different cultures and time periods.

The book also explores the staging of plays "in period," which refers to the practice of producing plays that are set in a specific historical period. De Grazia argues that by staging plays "in period," scholars can create a more immersive experience for the audience and help them to better understand the social, political, and cultural context of the play. However, she also notes that this practice can be problematic if it is used to essentialize or flatten the historical period, or if it is used to exclude certain groups of people from the historical narrative.

Finally, the book explores the use of Shakespeare in modernity's secularizing project. De Grazia argues that Shakespeare has been used by various modern.

To read these chapters is to come away newly alert to how these fraught concepts have served to regulate the canons afterlife. De Grazia does not entirely abandon them but deftly works around and against them to offer fresh insights on the reading, editing, and staging of Shakespeare at the heart of our literary canon.

Weight: 442g
Dimension: 146 x 222 x 24 (mm)
ISBN-13: 9780226785196