milosc-i-bliskosc: William Shakespeare

Evidence: 62 • authority: 58

Evidence: 54 • authority: 90

Simmel and Shakespeare on Lying and Love. This article contributes to the development of the sociology of lying by exploring some of the earliest comments on the topic, which are to be found amongst Georg Simmel’s writings about secrecy. We outline Simmel’s broader approach to interaction, as an experience that is conditioned upon non-knowledge, and work towards the attribution to him of the discovery of an aesthetic of concealment and revelation. This, we argue, can be used as a founding block in the sociology of lying. We then examine what Simmel has to say about lying specifically and find he falls into contradiction as he tries to link lying to other social forms, such as love, and to t…

Evidence: 54 • authority: 72

Twelfth Night, or What You Will is a romantic comedy by William Shakespeare, believed to have been written around 1601–1602 as a Twelfth Night entertainment for the close of the Christmas season. The play centres on the twins Viola and Sebastian, who are separated in a shipwreck. Viola (disguised as a page named Cesario) falls in love with the Duke Orsino, who in turn is in love with Countess Olivia. Upon meeting Viola, Countess Olivia falls in love with her, thinking she is a man. The play expanded on the musical interludes and riotous disorder expected of the occasion, with plot elements drawn from Barnabe Rich's short story "Of Apollonius and Silla", based on a story by Matteo Bandello.…

Evidence: 49 • authority: 80

Evidence: 49 • authority: 80

Evidence: 45 • authority: 90

Time Travel and the Return of the Author: Shakespeare in Love, "The Shakespeare Code," and Bill. In the latter part of the twentieth century, Roland Barthes's reader-orientated theory, "the death of the author," seemed to signal the end of biographical literary investigation. And yet by the end of the twentieth century, fueled in part by the rising wave of celebrity culture, a new strategy in relation to canonical texts emerged: the resurrection of the author via the biographical film. This paper examines the extent to which "time travel" via contemporary film to the early career of Shakespeare in the 1590s has been driven by a search for images of the playwright relevant to modern audience…

Evidence: 45 • authority: 90

"Alas, poor YORICK": Quoting Shakespeare in the Mid-Eighteenth-Century Novel. Shakespeare is so widely quoted in the eighteenth-century novel that the practice seems almost innocuous. Closer examination of his quotation by the novel's characters, however, reveals a tension between this polite convention and its potentially dangerous association with the pretense of the stage. This paper will argue that Shakespeare's multiple availability to the eighteenth-century public — via the stage, adaptations, gentlemanly editions, cheaper texts, and anthologies — renders his quotation an ambiguous act, capable of representing simultaneously a stagy self-dramatization and a benign, readerly admiration…

Evidence: 45 • authority: 90

"It hath no bottom" and is "beyond beyond": Shakespeare on the Mystery of Love. Abstract This thesis examines how Shakespeare represents love. Love is resistant to definition because its experience is entirely subjective, yet Shakespeare does not retreat from any attempt to represent selfless love, which contrasts to the more easily comprehended mechanisms and effects of desire. Shakespeare’s works suggest that love can be both eros and agape at the same time. The experience of being in love constitutes one’s subjectivity: these works show that to know oneself is to know what is worth dying for, and in this regard love is stronger than death. This thesis argues that Shakespeare views love a…