Please use this identifier to cite or link to this item: https://hdl.handle.net/1959.11/22596
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dc.contributor.authorBarnes, Dianaen
local.source.editorEditor(s): Susan Broomhallen
dc.date.accessioned2018-02-22T10:28:00Z-
dc.date.issued2015-
dc.identifier.citationAuthority, Gender and Emotions in Late Medieval and Early Modern England, p. 168-186en
dc.identifier.isbn9781137531155en
dc.identifier.isbn9781349554065en
dc.identifier.isbn9781137531162en
dc.identifier.urihttps://hdl.handle.net/1959.11/22596en
dc.description.abstractHarold Bloom's argument that Shakespeare's plays represent 'the outward limit of human achievement aesthetically, cognitively, in certain ways morally, even spiritually', was a new spin on an old argument established over the eighteenth century and entrenched through an educational programme disseminated throughout the British Empire and the greater English-speaking world over the nineteenth and twentieth centuries. For Bloom et al. it is because Shakespeare is the origin of what it means to be human, that his oeuvre is the ultimate authority on our emotions. Making the point that we cannot 'conceive of ourselves without Shakespeare', Bloom cites Owen Barfield who wrote in 1928 that 'there is a very real sense, humiliating as it may seem, in which what we generally venture to call our feelings are really Shakespeare's "meaning'". One simple reason for this is the fact that 'Shakespeare. The very name evokes the acme of the English language', as Seth Lerer asserts in Inventing English: A Portable History of the Language (2013). Indeed, Shakespeare is the single most cited authority in the second edition of the Oxford English Dictionary (1989) with over 33,000 references to his works. According to Lerer, 'He coined ... six thousand new words'. Certainly the roots of modern English - including many of the words and concepts we use to describe and understand our emotions - derive from this period, and in this sense, as Lerer asserts, 'Shakespeare stands on the cusp of modernity'. But, this has less to do with Shakespeare's individual genius and inventiveness and more to do with a socio-discursive revolution underway during his lifetime.en
dc.languageenen
dc.publisherPalgrave Macmillanen
dc.relation.ispartofAuthority, Gender and Emotions in Late Medieval and Early Modern Englanden
dc.relation.ispartofseriesGenders and Sexualities in Historyen
dc.relation.isversionof1en
dc.titleA Subject for Love in The Merry Wives of Windsoren
dc.typeBook Chapteren
dc.identifier.doi10.1057/9781137531162en
dc.subject.keywordsBritish and Irish Literatureen
local.contributor.firstnameDianaen
local.subject.for2008200503 British and Irish Literatureen
local.subject.seo2008950504 Understanding Europe's Pasten
local.subject.seo2008950203 Languages and Literatureen
local.profile.schoolSchool of Humanities, Arts and Social Sciencesen
local.profile.emaildbarne26@une.edu.auen
local.output.categoryB1en
local.record.placeauen
local.record.institutionUniversity of New Englanden
local.identifier.epublicationsrecordune-chute-20180219-124500en
local.publisher.placeHoundmills, United Kingdomen
local.identifier.totalchapters10en
local.format.startpage168en
local.format.endpage186en
local.contributor.lastnameBarnesen
dc.identifier.staffune-id:dbarne26en
local.profile.orcid0000-0003-3923-603Xen
local.profile.roleauthoren
local.identifier.unepublicationidune:22782en
dc.identifier.academiclevelAcademicen
local.title.maintitleA Subject for Love in The Merry Wives of Windsoren
local.output.categorydescriptionB1 Chapter in a Scholarly Booken
local.relation.urlhttps://nla.gov.au/anbd.bib-an54811737en
local.relation.grantdescriptionARC/CE110001011en
local.description.statisticsepubsVisitors: 4<br />Views: 5<br />Downloads: 0en
Appears in Collections:Book Chapter
School of Humanities, Arts and Social Sciences
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