John Drakakis
Biographic Data
| ID | 975643 |
|---|---|
| NAME | John Drakakis |
| GIVEN NAMES | John |
| FAMILY NAME | Drakakis |
| SIGNATURE | DRAKAKIS J |
| AFFILIATIONS | University of Stirling |
| VERIFIED | No |
| TOTAL WORKS | 19 |
| TOTAL CITATIONS | 17 |
| AUTHOR COUNT | 10 |
| EDITOR COUNT | 9 |
| FIRST PUBLICATION YEAR | 1987 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 1 |
The Audiences of Francis Beaumont’s the Knight of the Burning Pestle
This essay sets out to examine critically Beaumont’s representation of different audiences in his play The Knight of the Burning Pestle. The dominant critical tradition has it that the play is even-handed in its criticism of audiences, but the argument here is that different audience tastes are pitted against each other. The dominant motif is that treated seriously in, for example, Spenser’s The Faerie Queene and it is this tradition and its vari…
Greek Tragic Women on Shakespearean Stages
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Macbeth: The State of Play
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Feminism and Tragedy
The proposition that tragedy is anti-feminist requires a syllogistic counter-proposition: if tragedy is anti-feminist, then feminism must perforce be anti-tragic. Ferminist critics of Renaissance tragedy who have drawn attention to the ways in which the genre of tragedy victimises its female characters have not generally been concerned with the fact that the genre also, with equal frequency and intensity. Feminist critics of classical Greek and R…
Tradition and Innovation
The American playwright, Arthur Miller, posed the question of whether in the light of modern psychiatry, tragedy was any longer possible. His own The Death of A Salesman may be read as an answer to this question, especially when we consider that Miller perceived the assertion that tragedy depended upon the noble status of the protagonist to be nothing more than &s;a clinging to the outward forms of tragedy&s;. In another essay which Miller wrote …
The Philosophy of Tragedy
Tragedy is thought to be the most closely aligned with the discipline of philosophy of all the dramatic genres. It concerns the production of knowledge and the human limits to its acquisition, and also with questions of politics, ethics and spirituality. In The Philosophy of Fine Art , Hegel perceived drama generally as having &s;to exhibit situations and the spiritual atmosphere that belongs to them as definitely motivated by the individual char…
Psychoanalysis and Tragedy
Sigmund Freud&s;s well-known account of the Oedipus complex is the starting-point for any psychoanalytical reading of tragedy. In Freudian psychoanalysis the &s;unconscious&s; replaces that Dionysiac energy which, as people saw, was for Friedrich Nietzsche the mainspring of tragic action. In Lacan, the division at the centre of subjectivity is articulated differently, and in such a way as to expose the various stages through which the infant trav…
Historical Materialism and Tragedy
With the advent of Marxism and the emphasis upon human history, including those mechanisms which are responsible for social change, what had been an essentially religious perspective upon tragedy now gradually assumed a much more secular interest. The dramatist Bertold Brecht sought to issue a challenge to the Aristotelian conception of tragedy, questioning from a historical-materialist standpoint the need for heroism as such. His concern is with…
Ritual and Tragedy
The vital rhythm of tragedy, Susanne K. Langer says, is that of self-consummation, as distinct from the &s;self-preservation&s; of the comic mode. It always turns &s;toward an absolute close&s;, its cadences of human potentiality moving to completion or fulfilment. In tragedy, however, as distinct from actual ritual, the socially dangerous collapse of necessary distinctions and its redressive violence remain immanent and continually threaten to r…
Deconstruction and Tragedy
The identification of that otherness also offers a possibility for resistance, and allows the possibility of a radical reading of tragic form. It is fitting that deconstruction, the radical questioning of the conditions under which definitions achieve their authority, should come at the end. Throughout this selection it is evident that tragedy is deeply concerned with questions of knowledge, of reality, of the ritual elements in communal life, an…
Tragedy
Introduction: Beyond New Historicism
This special issue arose from questions of whether or not the NewHistoricist paradigm in early modern studies has been superseded by newer theoretical approaches and, if so, whether these have entirely broken with New Historicist tenets (“after”) or are in constructive dialogue with them (“beyond”). This introduction and the following essays lay out a number of considerations that argue for the existence of newer approaches; at the same time, the…
Revisiting The Subject of Tragedy
Gothic Shakespeares
Performativity
‘Fashion it thus’: Julius Caesar and the politics of theatrical representation
In David Zucker's 1988 film of The Naked Gun , a hapless Los Angeles Chief of Police, Lieutenant Frank Drebin, is warned by his relatively pacifist Mayoress employer to curb his propensity for violence. Drebin, himself an exaggerated post-modernist collocation of easily recognizable film texts, counters with a policy statement of his own sufficient to rival any pronouncement of Clint Eastwood's Dirty Harry: Yes, well when I see five weirdos dress…
Shakespeare Left and Right
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
The Place of The Stage: License, Play, and Power in Renaissance England
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Alternative Shakespeares
This volume takes up the challenge embodied in its predecessors, Alternative Shakespeares and Alternative Shakespeares 2 : to identify and explore the new, the changing, the radically "other" possibilities for Shakespeare studies at our particular historical moment.Alternative Shakespeares 3 introduces the strongest and most innovative of the new directions emerging in Shakespearean scholarship-ranging across performance studies, multimedia and t…
Alternative Shakespeares
This volume takes up the challenge embodied in its predecessors, Alternative Shakespeares and Alternative Shakespeares 2 : to identify and explore the new, the changing, the radically "other" possibilities for Shakespeare studies at our particular historical moment.Alternative Shakespeares 3 introduces the strongest and most innovative of the new directions emerging in Shakespearean scholarship-ranging across performance studies, multimedia and t…
Alternative Shakespeares
This volume takes up the challenge embodied in its predecessors, Alternative Shakespeares and Alternative Shakespeares 2 : to identify and explore the new, the changing, the radically "other" possibilities for Shakespeare studies at our particular historical moment.Alternative Shakespeares 3 introduces the strongest and most innovative of the new directions emerging in Shakespearean scholarship-ranging across performance studies, multimedia and t…
The Place of The Stage: License, Play, and Power in Renaissance England
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Shakespeare Left and Right
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
‘Fashion it thus’: Julius Caesar and the politics of theatrical representation
In David Zucker's 1988 film of The Naked Gun , a hapless Los Angeles Chief of Police, Lieutenant Frank Drebin, is warned by his relatively pacifist Mayoress employer to curb his propensity for violence. Drebin, himself an exaggerated post-modernist collocation of easily recognizable film texts, counters with a policy statement of his own sufficient to rival any pronouncement of Clint Eastwood's Dirty Harry: Yes, well when I see five weirdos dress…
Performativity
Gothic Shakespeares
Revisiting The Subject of Tragedy
Feminism and Tragedy
The proposition that tragedy is anti-feminist requires a syllogistic counter-proposition: if tragedy is anti-feminist, then feminism must perforce be anti-tragic. Ferminist critics of Renaissance tragedy who have drawn attention to the ways in which the genre of tragedy victimises its female characters have not generally been concerned with the fact that the genre also, with equal frequency and intensity. Feminist critics of classical Greek and R…
Tradition and Innovation
The American playwright, Arthur Miller, posed the question of whether in the light of modern psychiatry, tragedy was any longer possible. His own The Death of A Salesman may be read as an answer to this question, especially when we consider that Miller perceived the assertion that tragedy depended upon the noble status of the protagonist to be nothing more than &s;a clinging to the outward forms of tragedy&s;. In another essay which Miller wrote …
The Philosophy of Tragedy
Tragedy is thought to be the most closely aligned with the discipline of philosophy of all the dramatic genres. It concerns the production of knowledge and the human limits to its acquisition, and also with questions of politics, ethics and spirituality. In The Philosophy of Fine Art , Hegel perceived drama generally as having &s;to exhibit situations and the spiritual atmosphere that belongs to them as definitely motivated by the individual char…
Psychoanalysis and Tragedy
Sigmund Freud&s;s well-known account of the Oedipus complex is the starting-point for any psychoanalytical reading of tragedy. In Freudian psychoanalysis the &s;unconscious&s; replaces that Dionysiac energy which, as people saw, was for Friedrich Nietzsche the mainspring of tragic action. In Lacan, the division at the centre of subjectivity is articulated differently, and in such a way as to expose the various stages through which the infant trav…
Historical Materialism and Tragedy
With the advent of Marxism and the emphasis upon human history, including those mechanisms which are responsible for social change, what had been an essentially religious perspective upon tragedy now gradually assumed a much more secular interest. The dramatist Bertold Brecht sought to issue a challenge to the Aristotelian conception of tragedy, questioning from a historical-materialist standpoint the need for heroism as such. His concern is with…
Ritual and Tragedy
The vital rhythm of tragedy, Susanne K. Langer says, is that of self-consummation, as distinct from the &s;self-preservation&s; of the comic mode. It always turns &s;toward an absolute close&s;, its cadences of human potentiality moving to completion or fulfilment. In tragedy, however, as distinct from actual ritual, the socially dangerous collapse of necessary distinctions and its redressive violence remain immanent and continually threaten to r…
Deconstruction and Tragedy
The identification of that otherness also offers a possibility for resistance, and allows the possibility of a radical reading of tragic form. It is fitting that deconstruction, the radical questioning of the conditions under which definitions achieve their authority, should come at the end. Throughout this selection it is evident that tragedy is deeply concerned with questions of knowledge, of reality, of the ritual elements in communal life, an…
Tragedy
Introduction: Beyond New Historicism
This special issue arose from questions of whether or not the NewHistoricist paradigm in early modern studies has been superseded by newer theoretical approaches and, if so, whether these have entirely broken with New Historicist tenets (“after”) or are in constructive dialogue with them (“beyond”). This introduction and the following essays lay out a number of considerations that argue for the existence of newer approaches; at the same time, the…
Macbeth: The State of Play
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Greek Tragic Women on Shakespearean Stages
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
The Audiences of Francis Beaumont’s the Knight of the Burning Pestle
This essay sets out to examine critically Beaumont’s representation of different audiences in his play The Knight of the Burning Pestle. The dominant critical tradition has it that the play is even-handed in its criticism of audiences, but the argument here is that different audience tastes are pitted against each other. The dominant motif is that treated seriously in, for example, Spenser’s The Faerie Queene and it is this tradition and its vari…
Art (15 works) · Sociology (8 works) · Literature (7 works) · Shakespeare, Adaptation, and Literary Criticism (7 works) · Tragedy (event) (7 works) · History (6 works) · Media studies (5 works) · Philosophy (5 works) · History (4 works) · Law (4 works)