‘Quit Presently the Chapel’: A Note on Setting in the Final Scene of The Winter’s Tale

2020

‘This Seeming Lady and Her Brother’: Further Remarks on the Doubling of Perdita with Mamillius in The Winter’s Tale

2020

Shakespeare, Art and Artifice: An Interview with Stuart Sillars

2019

Ahead of the publication of his forthcoming book, Shakespeare Seen: Image, Performance and Society (Cambridge, 2018), Stuart Sillars sat down for an interview with Perry McPartland. The discussion revisited a number of topics that Sillars has explored in his various publications on Shakespeare, including Shakespeare’s aesthetic strategies of transformation, the relationship his work takes to the visual, and the uses to which Shakespeare puts aesthetic artifice. The interview was conducted in two parts over a very nearly adequate Skype connection in the summer of 2018.

References to the Doubling of Autolycus and the Bear in Shakespeare’s The Winter’s Tale

2019

Political Shakespeare and the Blessing of Art

2018

This text attempts to detail the functions and effects of some of Shakespeare's aesthetic strategies, and to determine their relationship to ideology. While this is critical territory that cultural materialists and new historicists have extensively mapped, the current text avoids the preferred methods of enquiry that these lines take. Rather than giving focus to the containment strategies of a dominant ideology, my investigation proceeds via a close reading of certain elements from Act 5 of Shakespeare's A Midsummer Night's Dream. I attempt to demonstrate that meaning in the play is determined and encompassed within the self-reflective and dissimulating structures of Shakespeare's art. I su…

KEIR ELAM. Shakespeare’s Pictures: Visual Objects in the Drama

2018

Shakespeare and Metatheatrical Representation

2020

Forholdet mellom scenisk representasjon og metateater hos Shakespeare har tradisjonelt blitt oppfattet antagonistisk: publikum ses enten som fanget inn av scenens skinn av virkelighet, eller som fremmedgjort og skeptisk distansert fra den. Min forskning viser imidlertid at Shakespeares drama kun realiseres gjennom forfalskende effekter og posisjoner, men at det likevel ikke er noe motsetningsforhold mellom representasjon og metateater. Tvert imot suspenderes virkningen av hver enkelt modalitet; begge forblir i spill, og dramatikeren kan utnytte det generative potensialet som ligger i hver av dem. Kort sagt, representasjon og metateater flettes sammen som et overordnet kunstgrep. Dette er en…