From Vienna with Love: William Shakespeare’s Measure for Measure - Denis Lagae-Devoldère - CNED - Format Physique et Numérique | PUF  

From Vienna with Love: William Shakespeare’s Measure for Measure

From Vienna with Love: William Shakespeare’s Measure for Measure
From Vienna with Love: William Shakespeare’s Measure for Measure
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Neither a full-scale tragedy nor a full-fledged comedy, William Shakespeare’s Measure for Measure is a catego-ry-defying “problem play” which has baffled critics and audience alike for centuries. Shakespeare’s last, unfestive comedy, one of his most debated and misread plays, has become a favourite among (post) modern spectactors, after years of comparative neglect and disfigurement. Despite the title’s symmetry, drawing from the formulation of Talionic law, there is no such thing as “measure for measure”, if only because the source of measure or judgment is itself biased. The present text-centered study aims at testing the validity of this axiom on a thematic, dramatic and linguistic level, and at providing lines of enquiry into a play which can ultimately be read as a celebration of drama—drama being the sole force to escape from the grip of this black, threatening comedy and come out strenghtened.



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14.5 x 20 cm


Table des matières: 

Place in lieu of Space
“A forted residence” (5.1.13): a sense of place
Prison: “perpetual durance” (3.1.68)
“How he misplaces” (2.1.85)

Substitution(s): “The Duke’s in us” (5.1.297)
“Lord Angelo dukes it well” (3.1.358)
“We’ll borrow place of him” (5.1.363)
“My place i’the state” (2.4.157)
De-substituting: “Your friar is now your prince” (5.1.383)

“Neither maid, widow, nor wife?” (5.1.177-178)
“She may be a punk” (5.1.179)
“An eminent body” (4.4.20)
Patriarchy, chastity and marriage
“Gigglets” (5.1.348): a misogynistic and misogamous play

“Die for ever” (2.4.109): Living as Dying
“’Twas never merry world” (3.1.274): vanity
The final replacement
“I crave death”: desire on trial
Dying as duration and anticipation: “The sense of death is most in apprehension” (3.1.79)

“Nothing of what is writ” (4.2.199): Silenced texts
“We shall write to you” (1.1.56): prescriptions
“Look, here’s the warrant” (4.2.60): performative writing
From “letters of strange tenor” (4.2.197) to “scrap[ing] commandments” (1.2.8)
“Not a resemblance, but a certainty” (4.2.185): knowing and leaps of faith

“I will go further than I meant” (4.2.187-88): Slipperiness of meaning(s)
“Lists” and “scopes”
“Precise” or “precisian”?
“To speak so indirectly” (4.6.1)
Aposiopesis: silence and “the vile conclusion” (5.1.96)
Tautology and chiasmus

Authorising and Authoring
“A motion (un)generative” (3.1.173)
Incomplete undressing

Conclusion: “There’s more behind”


Autour de l'auteur

Autour de l'ouvrage: 

Denis Lagae-Devoldère is a senior lecturer in Early Modern Literature and Drama at Paris-Sorbonne University (Paris IV). He is the author of a book on Shakespeare’s The Tragedy of Coriolanus (2007) and has published numerous articles and book chapters on Elizabethan, Jacobean and Restoration drama.