| 000 | 03388nam a22005175i 4500 | ||
|---|---|---|---|
| 001 | 216522 | ||
| 003 | IT-RoAPU | ||
| 005 | 20221214234236.0 | ||
| 006 | m|||||o||d|||||||| | ||
| 007 | cr || |||||||| | ||
| 008 | 220524t20222015stk fo d z eng d | ||
| 010 | _a2015298177 | ||
| 019 | _a(OCoLC)1302165746 | ||
| 020 |
_a9781474409469 _qPDF |
||
| 024 | 7 |
_a10.1515/9781474409469 _2doi |
|
| 035 | _a(DE-B1597)9781474409469 | ||
| 035 | _a(DE-B1597)619365 | ||
| 035 | _a(OCoLC)1301549783 | ||
| 040 |
_aDE-B1597 _beng _cDE-B1597 _erda |
||
| 050 | 0 | 0 |
_aPR2983 _b.K44 2016 |
| 072 | 7 |
_aLIT004120 _2bisacsh |
|
| 084 | _aonline - DeGruyter | ||
| 100 | 1 |
_aKhan, Amir _eautore |
|
| 245 | 1 | 0 |
_aShakespeare in Hindsight : _bCounterfactual Thinking and Shakespearean Tragedy / _cAmir Khan. |
| 264 | 1 |
_aEdinburgh : _bEdinburgh University Press, _c[2022] |
|
| 264 | 4 | _c©2015 | |
| 300 | _a1 online resource (248 p.) | ||
| 336 |
_atext _btxt _2rdacontent |
||
| 337 |
_acomputer _bc _2rdamedia |
||
| 338 |
_aonline resource _bcr _2rdacarrier |
||
| 347 |
_atext file _bPDF _2rda |
||
| 490 | 0 | _aEdinburgh Critical Studies in Shakespeare and Philosophy : ECSSP | |
| 505 | 0 | 0 |
_tFrontmatter -- _tContents -- _tAcknowledgements -- _tA Note on Texts -- _tSeries Editor’s Preface -- _t1. Introduction -- _t2. My Kingdom for a Ghost: Counterfactual Thinking and Hamlet -- _t3. Reversing Good and Evil: Counterfactual Thinking and King Lear -- _t4. Staging Passivity: Counterfactual Thinking and Macbeth -- _t5. Reversing Time: Counterfactual Thinking and The Winter’s Tale -- _t6. ‘Why Indeed Did I Marry?’: Counterfactual Thinking and Othello -- _t7. Conclusion -- _tNotes -- _tFurther Reading -- _tIndex |
| 506 | 0 |
_arestricted access _uhttp://purl.org/coar/access_right/c_16ec _fonline access with authorization _2star |
|
| 520 | _aA novel methodology designed to make Shakespeare, and his tragedies in particular, more accessible to students and scholars alikeWhy one more ‘approach’ to reading Shakespeare? One reason is because whatever previous approaches say about tragedy in particular, none of them help us to feel tragedy. Or, rather, they subordinate tragedy to something else — to considerations of class, race, or gender. Thus, where these other approaches attempt to explain tragedy away, the aim of Amir Khan’s counterfactual criticism of Shakespeare’s tragedies, including Hamlet, King Lear, Macbeth, and Othello is to help us to feel tragedy first and foremost — and hence, to perceive it better.Key Features:Provides a way past historicist methods in Shakespearean scholarshipTransform less the way Shakespeare’s tragedies are read and more the way they are perceivedIntroduces the promise of, while modeling ways to exercise, counterfactual scholarship in literary studies | ||
| 538 | _aMode of access: Internet via World Wide Web. | ||
| 546 | _aIn English. | ||
| 588 | 0 | _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 24. Mai 2022) | |
| 650 | 4 | _aLiterary Studies. | |
| 650 | 7 |
_aLITERARY CRITICISM / European / English, Irish, Scottish, Welsh. _2bisacsh |
|
| 850 | _aIT-RoAPU | ||
| 856 | 4 | 0 | _uhttps://doi.org/10.1515/9781474409469 |
| 856 | 4 | 0 | _uhttps://www.degruyter.com/isbn/9781474409469 |
| 856 | 4 | 2 |
_3Cover _uhttps://www.degruyter.com/document/cover/isbn/9781474409469/original |
| 942 | _cEB | ||
| 999 |
_c216522 _d216522 |
||