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2016 | 25/3 | 81-95
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“Thou mightst have done this without thy beard and gown”: William Shakespeare and the Language of Disguise

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Abstracts
EN
William Shakespeare’s use of theatrical disguise can be assessed through the discourses his disguised characters employ, having significant ramifications at a socio-political, linguistic and metatheatrical level. In illustrating this view, I will explore the role(s) of Edgar in King Lear, drawing on the views of Stephen Greenblatt, Mikhail Bahktin and Ludwig Wittgenstein. I will then examine my conclusions and align them to Autolycus in The Winter’s Tale and Feste in Twelfth Night, while determining whether any recurring socio-political, linguistic and metatheatrical patterns emerge. Finally, I will determine whether it is possible to formulate a strategy of a language of disguise as Shakespeare saw it.
Contributors
author
  • University of Warsaw
References
  • Bahktin, Mikhail. M. 1981. The Dialogic Imagination: Four Essays. Ed. M. Holquist, trans. C. Emerson and M. Holquist. Texas, USA: University of Texas Press.
  • Carroll, William, C. 1992. “Language, Politics and Poverty in Shakespearian Drama.” Shakespeare Survey 44: 17–24.
  • Cetera, Anna. 2012. “Sometime with Lunatic Bans, sometime with Prayers: Shakespeare’s Language(s) of Disguise.” Shakesplorations: Essays in Honour of Professor Marta Gibinska. Ed. Jerzy Limon, Małgorzata Grzegorzewska and Jacek Fabiszak. Gdansk: Wydawnictwo Uniwersytetu Gdanskiego. 80–89.
  • Cosgrove, Brian. 1977. “The Winter’s Tale and the Limits of Criticism.” Studies: An Irish Quarterly Review 66, 262/263: 176–187.
  • Cox, Lee, Sheridan. 1969. “The Role of Autolycus in the The Winter’s Tale.” Studies in English Literature 9: 283–301.
  • Downer, Alan S. 1952. “Feste’s Night.” College English 13. 5: 258–265.
  • Draper, J.W. 1941. “ET IN ILLYRIA FESTE: Better a witty foole, then a foolish wit. – Quinapalus.” The Shakespeare Association Bulletin 16. 4: 220–228
  • Greenblatt, Stephen. 1980. Renaissance Self-Fashioning: From More to Shakespeare. Chicago: University of Chicago Press.
  • Greenblatt, Stephen. 1988. “Shakespeare and the Exorcists.” Shakespearean Negotiations: The Circulation of Social Energy in Renaissance England. Los Angeles, USA: University of California Press. 94–123.
  • Greif, Karen. 1988. “A Star is Born: Feste on the Modern Stage.” Shakespeare Quarterly 39. 1: 61–78.
  • Hartwig, Joan. 1973. “Feste’s ‘Whirligig’ and the Comic Providence of Twelfth Night.” ELH 40. 4: 501–513.
  • Hunt, Maurice. 1995. “The Tragicomic Perspective.” The Winter’s Tale: Critical Essays. Ed. M. Hunt. New York, Routledge. 174–199.
  • Hyland, Peter. 2011. Disguise on the Early Modern English Stage. Surrey: Algate Publishing Limited.
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  • Quiller Couch, Sir Arthur. 1931. Shakespeare’s Workmanship. Cambridge: Cambridge University Press.
  • Palfrey, Simon. 2011. Poor Tom: Living King Lear. http://www.scribd.com/book/236307704/Poor-Tom-Living-King-Lear.
  • Sokol, B. J. 1994. “Autolycus Tale and The Winter’s Tale: The Rogue in Shakespeare’s Reparative Play.” Art and Illusion in The Winter’s Tale. Manchester, UK: Manchester University Press. 167–181.
  • Shakespeare, William. King Lear, 1997. Ed. R. A. Foakes. London:Bloomsbury Publishing.
  • Shakespeare, William. The Winter’s Tale, 1963. Ed. J. H. P. Pafford, London: Methuen.
  • Shakespeare, William. Twelfth Night, 2008. Ed. Keir Elam, London: Bloomsbury Publishing.
  • Taylor, Gary, and Michael Warren., eds. The Division of the Kingdoms: Shakespeare’s Two Versions of King Lear. Oxford: Oxford University Press.
  • Wittgenstein, Ludwig. 1958. Philosophical Investigations. Trans. G. E. M. Anscombe. Oxford: Basil Blackwell Ltd.
Document Type
Publication order reference
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bwmeta1.element.desklight-c4b2c8f5-c922-430e-a989-f82447aa49e1
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