Nine Lives of William Shakespeare

Holderness, Graham

doi:10.5040/9781623561161

Cited by 25 publications

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“…19 Multiple and differing theories on this matter have emerged, from Herbert Thurston's 'The Religion of Shakespeare' in 1912 -acknowledging Catholic overtones in his works but concluding that the question 'must remain forever uncertain' 20 to Graham Holderness's The Faith of William Shakespeare (2016), arguing for Shakespeare's Protestantism. 21 Twentieth-and twenty-first-century studies dealing with Shakespeare's faith have originated powerful analyses of his dramatic engagement with the religious, philosophical, ideological and literary currents of his time. 22 Other relevant works have focused on the author's dramatic indebtedness to Christian culture.…”

Section: Marta Cerezomentioning

confidence: 99%

Introduction

Moreno¹

2023

Critical Survey

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This special issue aims to participate in the ‘turn to religion’ experienced by Shakespearean scholarship in the last few decades by delving into an undeveloped field of research within the area of Shakespeare studies: the author's religious afterlives.1 By focusing on specific case studies, we propose to analyse how the author and his work have been used to illustrate and support theological and educational concepts; translated considering the implications of biblical intertextuality; variously recreated in religious terms and in different religious contexts; and taught from religious and spiritual standpoints.

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Section: Marta Cerezomentioning

confidence: 99%

Introduction

Moreno¹

2023

Critical Survey

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“…40 Perhaps the most significant and highest profile analogue for this group of The Shakespeare Code' with the reflection that 'the story of Shakespeare as a writer is a cultural mystery and one obvious form for its exploration is the pseudo-scientific romance thriller so successfully colonized' by Brown. 41 More than one reviewer of The Shakespeare Secret read it in precisely this fashion, as a quest for 'the holy grail of Shakespearean study'. 42 Carrell's novel was persistentlyeven tediouslyhailed as 'a Da Vinci Code-style farrago', 'a Shakespearean twist on The Da Vinci Code', and 'The Da Vinci Code .…”

Section: Cardenio Entre Cervantès Et Shakespeare) Roger Chartier Permentioning

confidence: 99%

Resurrecting Shakespeare’s Ghost Plays

Reid¹

2018

English: Journal of the English Association

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This article draws attention to a group of remarkably similar novels published between 2003 and 2009: William Martin's Harvard Yard, Jennifer Lee Carrell's The Shakespeare Secret (also known as Interred with Their Bones), Jean Rae Baxter's Looking for Cardenio, and A. J. Hartley's What Time Devours. Each of these mysteries portrays a para-academic protagonist's literary quest to rediscover one of Shakespeare's so-called 'ghost plays'-that is, either Love's Labour's Won or Cardenio. This article seeks, firstly, to locate these novels' imaginative treatments of lost Shakespearean works in relation to academic trends and ideas about these two plays. It then turns its attention to codifying and analysing the common characteristics of this microgenre. In so doing, it highlights how this group of novels is conspicuously infused with the imagery and discourses of spectrality: they recurrently redeploy metaphors of haunting, liminality, and ephemerality to portray the mechanics and significance of Shakespearean literary discovery. I pushed the page across to Ben. .. 'Lost plays,' it read. Underneath it were two titles. The first was Love's Labour's Won. The second was The History of Cardenio. He looked up quickly. 'Lost?' 'We have the titles, and mentions of performances in court calendars. We know they once existed. But no one's seen a shred of either story-not so much as two words strung together-for centuries.' 1

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“…Perhaps, as Graham Holderness has it, 'there is no such thing as a speculation-free biography of Shakespeare' to begin with. 1 Taking the example of Shakespeare's death as narrated in half a dozen biographies, Holderness shows how this topos has lent itself to as many different readings, which to a greater or lesser extent reflect the biographer's own background or agenda. Some female biographers, for instance, focus on the role of Anne, one (Katherine Duncan-Jones) seeing her as the victim of her irascible husband, who becomes more and more intractable as the end (from syphilis) comes nearer; another (Germaine Greer) casts Anne as the loving provider of care (Holderness,11).…”

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confidence: 98%