Breaking the Illusion of Being
Shakespeare and the Performance of Self
Bibliographic Data
| ID | 4551738 |
|---|---|
| Authors | Emily C Bartels (corresponding author) |
| Year | 1994 |
| Volume | 46 |
| Issue | 2 |
| Pages | 171 |
| Publication date | 1994-05-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Theatre Journal (JOURNAL) |
| Journal identifiers | ISSN: 0192-2882 • E-ISSN: 1086-332X |
| Publisher | JSTOR (PUBLISHER) |
| DOI | 10.2307/3208450 |
| OpenAlex | W2327201613 |
| Language | EN |
| Citations received | 4 |
To or not to be (3. 1. 55)-that is the question Hamlet asks of himself and Shakespeare asks of him and other self-scrutinizing figures like him (such as Othello, Lear, to some degree Cleopatra and Macbeth), figures emerging largely, though not solely, in the tragedies, where the idea of selfhood and the prospects of selfdetermination are most prominently at issue.1 New historicism, with its Foucauldian emphases on the coercive pervasion of and the ideological overdetermination of identity, has brought us back, perhaps despite itself, to where early feminisms, with their interest in recovering muted female voices, began: to questions of agency, of the subject's power over and as a self.2 Given a world in which thoughts are subjects to and of a multi-layered network of social and political prescripts, what finally does and can it mean to be, to perform or possess identity, to speak and act as I
Aesthetics · Art · Cognitive psychology · Illusion · Literature · Psychoanalysis · Irish and British Studies · Literature: history, themes, analysis · Psychology · Shakespeare, Adaptation, and Literary Criticism
| Citations per year | 0.14 |
|---|---|
| Citation span | 1997 - 2017 (21) |
| Highly cited | No |