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19 results

Memory and Affect in Shakespeare's England
  • Memory and Affect in Shakespeare's England
  • Edited by Jonathan Baldo, Isabel Karremann
  • Coming soon
  • Expected online publication date: June 2023
  • Print publication: 30 June 2023
  • View description
    This is the first collection to systematically combine the study of memory and affect in early modern culture. Essays by leading and emergent scholars in the field of Shakespeare studies offer an innovative research agenda, inviting new, exploratory approaches to Shakespeare's work that embrace interdisciplinary cross-fertilization. Drawing on the contexts of Renaissance literature across genres and on various discourses including rhetoric, medicine, religion, morality, historiography, colonialism, and politics, the chapters bring together a broad range of texts, concerns, and methodologies central to the study of early modern culture. Stimulating for postgraduate students, lecturers, and researchers with an interest in the broader fields of memory studies and the history of the emotions – two vibrant and growing areas of research – it will also prove invaluable to teachers of Shakespeare, dramaturges, and directors of stage productions, provoking discussions of how convergences of memory and affect influence stagecraft, dramaturgy, rhetoric, and poetic language.
The Drama of Memory in Shakespeare's History Plays
  • The Drama of Memory in Shakespeare's History Plays
  • Isabel Karremann
  • Published online: 05 October 2015
  • Print publication: 20 October 2015
  • View description
    This book analyses the drama of memory in Shakespeare's history plays. Situating the plays in relation to the extra-dramatic contexts of early modern print culture, the Reformation and an emergent sense of nationhood, it examines the dramatic devices the theatre developed to engage with the memory crisis triggered by these historical developments. Against the established view that the theatre was a cultural site that served primarily to salvage memories, Isabel Karremann also considers the uses and functions of forgetting on the Shakespearean stage and in early modern culture. Drawing on recent developments in memory studies, new formalism and performance studies, the volume develops an innovative vocabulary and methodology for analysing Shakespeare's mnemonic dramaturgy in terms of the performance of memory that results in innovative readings of the English history plays. Karremann's book is of interest to researchers and upper-level students of Shakespeare studies, early modern drama and memory studies.
  • Rites of Oblivion in Shakespearian History Plays
  • Edited by Peter Holland, University of Notre Dame, Indiana
  • Book: Shakespeare Survey
  • Published online: 28 November 2010
  • Print publication: 14 October 2010, pp 24-36
  • View extract

    Summary

    This article is about rites of oblivion in Shakespearian history plays and Elizabethan culture. The conjunction of ritual and forgetting might well seem paradoxical at first sight. After all, ritual is both formally and functionally associated with memory: rehearsing highly conventionalized topoi, gestures and acts, ritual is built on repetition and recognition. It works effectively only as a formalized act that recalls a social frame of reference which asserts the validity of the ritual and in turn is asserted by it. By the same token, cultural memory depends on rites of commemoration that ‘invite, rehearse or enforce social modes of recollection’. The words ‘re-collection’ and ‘re-member’ point to both the repetitive form and the social function of ritual: turning individual members of society into an imagined community, it serves to establish continuity and collective identity. Given this mutually constitutive relation between ritual and memory, can there also be rites of oblivion? If so, what form would such ritual forgetting take, and what would be its social function? What cultural work does oblivion perform? Is there, in short, an ars oblivionalis just as there is an ars memorativa?

    In a seminal essay of 1988, Umberto Eco addresses this last question and negates it categorically. From his semiological perspective, forgetting is the reverse of memory and, by extension, of the use of signs as ‘a means of making present, never absent’. He deduces from this that neither the acts of oblivion nor their effects can ever be represented, that forgetting is a priori excluded from the cultural economy of signs and meanings. Likewise, whereas he sees remembrance as a constitutive force of culture and society, Eco dismisses forgetting as a destructive force of nature beyond human control and intentionality. I would like to suggest here that memory and oblivion are in fact complementary rather than mutually exclusive forces and that forgetting can indeed be purposeful and deliberate. Based on this premise, I will explore how the relation between mnemonic rites and oblivion is represented on the early modern stage.