Since the seventeenth century, publishers, directors and critics have divided Shakespeares plays into specific genres or types. Plays ending in marriages, for example, are described as comedies, while plays that are filled with fantastic events are often called romances. In this class we will be reading a generous sampling of comedies and the late romances, asking how genre or generic expectations have shaped the composition and reception of these texts. We will also be asking how genres have served (and continue to serve) as the bearers of cultural memory and expressions of ideology, supplying a logic and pathos for the "order of things" which is alternatively dominant and subversive. Required Texts: The Norton Shakespeare, eds. Greenblatt et al. (Norton Publishers), ISBN: 03-93970-876. The Bedford Companion to Shakespeare, ed. McDonald (Bedford/St. Martins), ISBN: 03-12248-806.
Since the seventeenth century, publishers, directors and critics have divided Shakespeares plays into specific genres or types. Plays ending in marriages, for example, are described as comedies, while plays that are filled with fantastic events are often called romances. In this class we will be reading a generous sampling of comedies and the late romances, asking how genre or generic expectations have shaped the composition and reception of these texts. We will also be asking how genres have served (and continue to serve) as the bearers of cultural memory and expressions of ideology, supplying a logic and pathos for the "order of things" which is alternatively dominant and subversive. Required Texts: The Norton Shakespeare, eds. Greenblatt et al. (Norton Publishers), ISBN: 03-93970-876. The Bedford Companion to Shakespeare, ed. McDonald (Bedford/St. Martins), ISBN: 03-12248-806.
Since the seventeenth century, publishers, directors and critics have divided Shakespeares plays into specific genres or types. Plays ending in marriages, for example, are described as comedies, while plays that are filled with fantastic events are often called romances. In this class we will be reading a generous sampling of comedies and the late romances, asking how genre or generic expectations have shaped the composition and reception of these texts. We will also be asking how genres have served (and continue to serve) as the bearers of cultural memory and expressions of ideology, supplying a logic and pathos for the "order of things" which is alternatively dominant and subversive. Required Texts: The Norton Shakespeare, eds. Greenblatt et al. (Norton Publishers), ISBN: 03-93970-876. The Bedford Companion to Shakespeare, ed. McDonald (Bedford/St. Martins), ISBN: 03-12248-806.
Textbooks listed may be optional. Verify books with the course syllabus. * Items may be in new or used condition. Check site for details. ** Shipping, handling and taxes are estimated. Actual charges may vary.
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email: tcpulse@andrew.cmu.edu :: phone: 801.848.4812 :: fax: 801.848.4812 :: mail: The Carnegie Pulse | Carnegie Mellon University | University Center, Box 78 | Pittsburgh, PA 15213 ::
(c) Copyright 2004 The Carnegie Pulse, Carnegie Mellon's first exclusively online student-run news source.
Textbooks listed may be optional. Verify books with the course syllabus. * Items may be in new or used condition. Check site for details. ** Shipping, handling and taxes are estimated. Actual charges may vary.
talkback to the pulse
No comments about this course have been posted, yet. Be the first to post!
Share your opinion on this course with other Pulse readers. Login below or register to begin posting.
email: tcpulse@andrew.cmu.edu :: phone: 801.848.4812 :: fax: 801.848.4812 :: mail: The Carnegie Pulse | Carnegie Mellon University | University Center, Box 78 | Pittsburgh, PA 15213 ::
(c) Copyright 2004 The Carnegie Pulse, Carnegie Mellon's first exclusively online student-run news source.
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