Course Title Shakespeare Instructor Dr Sc Janja CiglarŽanić ECTS

course title: shakespeare. instructor: dr sc. janja ciglar-žanić. ects credits: 6. status: elective. semester: viii. enrollment

Course title: Shakespeare.
Instructor: dr sc. Janja Ciglar-Žanić.
ECTS credits: 6.
Status: elective.
Semester: VIII.
Enrollment requirements: completed VII semester.
Course description:
The course will be concerned with a selected number of Shakespeare’s
plays viewed in the light of new theories of literature and culture. A
study of the new strategies of reading, developed in the last few
decades (new historicism, cultural materialism, feminism,
postcolonialism), will introduce the course.
Each of the selected plays will be accompanied by different film
productions of the corresponding play and the discussions will centre
on the relationship between text and its visual presentations. Special
attention will be paid to the reinscriptive practices in both textual
criticism and film productions.
Objectives:
The main objective of the course is to shed a new light on the
traditional understanding and reading of the plays as well as on the
plays themselves. An additional objective is to examine how
Shakespeare’s texts function outside of the medium non-existent in
Shakespeare’s time and how in both their textual and visual medium
they are related to our present concerns.
Course requirements:
Class work (regular attendance at lectures and active class
participation), various section-specific assignments (an oral
presentation), and a final quiz-- and essay—style exam on issues
raised by plays covered in class and social and cultural issues as
they relate to Shakespeare's plays.
Week by week schedule:
Week 1: Introduction: Strategies of reading.
Week 2: Shakespearean stage.
Week 3: Shakespeare on film.
Week 4: King Lear: different readings with the emphasis on cultural
materialist interpretation. Film clips: M. Elliott, Peter Brook, (BBC
production).
Week 5: King Lear (continued).
Week 6: Hamlet: different readings with the emphasis on
psychoanalytical, new historicist and political interpretations. Film
clips: Sir Laurence Olivier, G. Kozintsev, K. Branagh.
Week 7: Hamlet (continued).
Week 8: A Midsummer Night's Dream: various reinscriptive practices in
textual criticism and performance. Film clips: A. Noble, M. Hoffman,
A. Popovski (Gavella Theatre production).
Week 9: A Midsummer Night's Dream (continued).
Week 10: The Tempest: different readings with the emphasis on
postcolonial interpretation Film clips: (the BBC production), D.
Jarman, P. Greenaway (Prospero’s Books).
Week 11: The Tempest (continued).
Week 12: Antony and Cleopatra: different readings with the emphasis on
feminist interpretation. Film clips: J. Scoffield.
Week 13: Antony and Cleopatra (continued).
Week 14: Concluding remarks.
Week 15: Final exam.
Required reading:
Orgel, Stephen, & A. R. Braunmuller (eds), The Complete Pelican
Shakespeare, New York: Penguin, 2002.
Barker, Francis, & Peter Hulme, “Nymphs and Reapers Heavily Vanish:
The Discursive Con--Texts of The Tempest”, in John Drakakis (ed),
Alternative Shakespeares. London & New York: Routledge, 1985; 191-205.
Carter, Ronald, «The Renaissance: 1485-1660», in Carter, Ronald, &
John McRae (eds). The Routledge History of Literature in English.
London & New York: Routledge, 1997; 57-126.
Ciglar-Žanić, Janja, “Antikolonijalna Oluja: teorija i praksa
suvremenih reinskripcija Shakespearea”, in Neka veća stalnost:
Shakespeare u tekstu i kontekstu, Zagreb: Zavod za znanost o
književnosti Filozofskog fakulteta, 2001; 125-151.
Coddon, Karin S, «‘Suche Strange Desygns’: Madness, Subjectivity, and
Treason in Hamlet and Elizabethan Culture», in Wofford, Susanne L
(ed), Case Studies in Contemporary Criticism: William Shakespeare,
‘Hamlet’. New York: Bedford Books, 1994; 380-402.
Desmet, Christy, “Character Criticism”, in Wells, Stanley, & Lena Cowe
Orlin (eds), Shakespeare: An Oxford Guide, Oxford: Oxford UP, 2003;
351-372.
Dollimore, Jonathan, “King Lear (c. 1605--06) and Essentialist
Humanism”, in Radical Tragedy: Religion, Ideology, and Power in the
Drama of Shakespeare and his Contemporaries, Brighton: Harvester
Press, 1984; 189-203.
Fitz, Linda T, “Egyptian Queens and Male Reviewers: Sexist Attitudes
in Antony and Cleopatra Criticism.”, in Drakakis, John (ed), New
Casebooks: Antony and Cleopatra, Houndmills [etc.]: Macmillan, 1994;
182-211.
French, Marilyn, “Antony and Cleopatra”, in Shakespeare's Division of
Experience, London: Abacus, 1983; 251-265.
Girard, René, “The Course of True Love”, in A Theater of Envy: William
Shakespeare; New York & Oxford: Oxford UP, 1991; 29-79.
Greenblatt, Stephen J, “Learning To Curse: Aspects of Linguistic
Colonialism in the Sixteenth Century”, in Learning to Curse: Essays in
Early Modern Culture, New York & London: Routledge, 1992, 16-39.
Gurr, Andrew, «The Shakespearean Stage», in Greenblatt, Stephen (ed),
The Norton Shakespeare, New York & London: W. W. Norton and Company,
1997; 3281-3301.
Harrison, G. B, “Materials for the Life of Shakespeare”, in
Introducing Shakespeare (3rd ed), Harmondsworth: Penguin Books, 1966;
29-75.
Holderness, Graham, «Bardolatry: or, The cultural materialist’s guide
to Stratford—upon—Avon», in Holderness, Graham (ed), The Shakespeare
Myth, Manchester: Manchester UP, 1998; 02-15.
Jones, Norman, “Shakespeare’s England”, in Kastan, David Scott (ed), A
Companion to Shakespeare, Oxford: Blackwell Publishers, 1999; 25-41.
Kott, Jan, “King Lear, or Endgame”, in Shakespeare Our Contemporary,
transl. by Boleslaw Taborski, New York: Doubleday, 1966.
Kott, Jan, “Titania and the Ass’s Head”, in Shakespeare Our
Contemporary, transl. by Boleslaw Taborski, New York: Doubleday, 1966;
213-236.
Loomba, Ania, “‘Travelling thoughts’: Theatre and the Space of the
Other”, in Drakakis, John (ed), New Casebooks: Antony and Cleopatra,
Houndmills [etc.]: Macmillan, 1994; 279-307.
Neill, Michael, “Hamlet: A Modern Perspective”, in Mowat, Barbara A. &
Paul Werstine (eds), The Tragedy of Hamlet, Prince of Denmark, New
York [etc]: The New Folger Library Shakespeare, 1992; 307-326.
Tatspaugh, Patricia, “Performance history: Shakespeare on the stage
1660-2001”, in Wells, Stanley, & Lena Cowe Orlin (eds), Shakespeare:
An Oxford Guide, Oxford: Oxford UP, 2003; 525-549.
Welsford, Enid, “The Fool in King Lear”, in Kermode, Frank (ed),
Shakespeare: King Lear, 1969; 137-149.
Recommended reading:
Barber, C. L, Shakespeare's Festive Comedy: A Study of Dramatic Form
and its Relation to Social Custom, Princeton: Princeton UP, 1972.
Bradley, A. C, Shakespearean Tragedy: Lectures on Hamlet, Othello,
King Lear, Macbeth, London: Macmillan, 1904.
Brooker, Peter, & Peter Widdowson (eds), A Practical Reader in
Contemporary Literary Theory, Harlow [etc.]: Prentice Hall, 1996.
Bulman, James C (ur), Shakespeare, Theory and Performance, London &
New York: Routledge, 1996.
Ciglar-Žanić, Janja, Domišljato stvoren svijet: Barok u engleskoj
književnosti, Zagreb: Slap, 2008.
Ciglar-Žanić, Janja, Neka veća stalnost: Shakespeare u tekstu i
kontekstu, Zagreb: Zavod za znanost o književnosti Filozofskoga
fakulteta u Zagrebu, 2001.
Cox, John D; & David Scott Kastan (eds), A New History of Early
English Drama, with an introduction by Stephen J. Greenblatta, New
York: Columbia UP, 1997.
De Grazia, Margreta, & Stanley Wells (eds), The Cambridge Companion to
Shakespeare, Cambridge: Cambridge UP, 2001.
Dollimore, Jonathan; & Alan Sinfield (eds), Political Shakespeare:
Essays in Cultural Materialism, Manchester & New York: Manchester UP,
1985.
Frye, Northrop, Anatomy of Criticism: Four Essays, Princeton:
Princeton UP, 1957.
-- A Natural Perspective: The Development of Shakespearean Comedy and
Romance, New York & London: Columbia UP, 1965.
-- Fools of Time: Studies in Shakespearean Tragedy, Toronto [etc.]:
University of Toronto Press, 1996.
Greenblatt, Stephen (ed), The Norton Shakespeare, New York and London:
W. W. Norton, 1997.
Harrison, G. B, Introducing Shakespeare (3rd ed), Harmondsworth:
Penguin Books, 1966.
Hattaway, Michael; Boika Sokolova, & Derek Roper (eds), Shakespeare in
the New Europe. Sheffield: Sheffield Academic Press, 1994.
Kastan, David Scott (ed), A Companion to Shakespeare. Oxford:
Blackwell Publishers, 1999.
Kermode, Frank (ed), Shakespeare: King Lear. 1969.
Kott, Jan, The Bottom Translation: Marlowe and Shakespeare and the
Carnival Tradition. Transl. by Daniela Miedzyrzecka & Lillian Vallee.
Evanston, Illinois: Northwestern UP, 1987.
Loomba, Ania, Gender, Race, Renaissance Drama, Bombay [etc.]: Oxford
UP, 1992.
Lupić, Ivan, Prijetvorni subject: transtekstualni okviri
Shakespeareovih soneta, Zagreb: L biblioteka Zavoda za znanost o
književnosti Filozofskog fakulteta Sveučilišta u Zagrebu, 2007.
McDonald, Russ, The Bedford Companion to Shakespeare: An Introduction
with Documents (2nd ed), Boston & New York: Bedford/ St. Martin's,
2001.
Parker, Patricia, & Geoffrey Hartman (eds), Shakespeare and the
Question of Theory, London: Methuen, 1985.
Schoenbaum, Samuel, William Shakespeare: A Compact Documentary Life,
New York & Oxford: Oxford UP, 1987.
Selden, Raman; Peter Widdowson, & Peter Brooker (eds), A Reader's
Guide to Contemporary Literary Theory, London [etc.]: Prentice Hall,
1997.
Styan, John Louis, The Shakespeare Revolution: Criticism and
Performance in the Twentieth Century, Cambridge: Cambridge UP, 1977.
Swift Lenz, Carolyn Ruth; Gayle Greene; & Carol Thomas Neely (eds),
The Woman's Part: Feminist Criticism of Shakespeare. Chicago:
University of Illinois Press, 1980.
Tillyard, E. M. W, The Elizabethan World Picture, London: Chatto &
Windus, 1943.
Torbarina, Josip, “Predgovor”, in Shakespeare, William, San ivanjske
noći. Transl. Milan Bogdanović. Redigirao Josip Torbarina. Zagreb:
Matica hrvatska, 1970.
Vickers, Brian, English Renaissance Literary Criticism, Oxford:
Clarendon Press, 1999.
Weimann, Robert, Shakespeare and the Popular Tradition in the Theater:
Studies in the Social Dimension of Dramatic Form and Function.
Schwartz, Robert (ed). Baltimore & London: The Johns Hopkins UP, 1987.
Wells, Stanley, & Lena Cowe Orlin (eds), Shakespeare: An Oxford Guide,
Oxford: Oxford UP, 2003; pp. 391-410.