{"id":28110,"date":"2017-03-03T15:01:54","date_gmt":"2017-03-03T14:01:54","guid":{"rendered":"http:\/\/anglist.ffzg.unizg.hr\/?p=28110&#038;lang=en"},"modified":"2022-01-17T17:19:33","modified_gmt":"2022-01-17T16:19:33","slug":"shakespeare-brlek-eng","status":"publish","type":"post","link":"https:\/\/anglist.ffzg.unizg.hr\/?p=28110&lang=en","title":{"rendered":"Shakespeare (Brlek)"},"content":{"rendered":"<p><span style=\"font-size: 10pt;\"><strong>Course title: <\/strong>Shakespeare<strong><br \/>\nInstructor: <\/strong>Asst. Prof.\u00a0Tomislav Brlek<strong><br \/>\nECTS credits: <\/strong>6<strong><br \/>\nLanguage: <\/strong>English<strong><br \/>\nDuration: <\/strong>Semester 4 to 6<strong><br \/>\nStatus: <\/strong>elective<strong><br \/>\nEnrolment requirements: <\/strong>completed <em>Introduction to English Lit\/Introduction to English Lit 1 and 2<\/em><strong><\/p>\n<p><\/strong>The course is designed as an analysis of William Shakespeare&#8217;s works in the light of the fact that they were written for theatre performance. The focus will be on close reading and interpretation of six plays, as well as on the discussion of select critical works relevant to this particular aspect. The main goal of the course is to point out the central poetical characteristics of Shakespeare\u2019s playwriting, which has a special place in the history of English literature, as the basis for reading his work.<strong><br \/>\n<\/strong>(<a href=\"http:\/\/theta.ffzg.hr\/ECTS\/Predmet\/Index\/5619\" target=\"_blank\" rel=\"noopener noreferrer\">http:\/\/theta.ffzg.hr\/ECTS\/Predmet\/Index\/5619<\/a>)<strong><br \/>\nSyllabus: <\/strong><em><strong>SHAKESPEARE<\/strong><\/em><\/span><\/p>\n<ol>\n<li><span style=\"font-size: 10pt;\">Introduction<\/span>\n<ul>\n<li><span style=\"font-size: 10pt;\">Eliot, \u201cIntroduction\u201d<\/span><\/li>\n<\/ul>\n<\/li>\n<li><span style=\"font-size: 10pt;\"><em>A<\/em> <em>Midsummer Night\u2019s Dream<\/em><\/span>\n<ul>\n<li><span style=\"font-size: 10pt;\">Frye, <em>On Shakespeare<\/em>, 34-50<\/span><\/li>\n<li><span style=\"font-size: 10pt;\">Girard, <em>Theater of Envy<\/em>, 29-79; 167-173; 234-242<\/span><\/li>\n<\/ul>\n<\/li>\n<li><span style=\"font-size: 10pt;\"><em>A<\/em> <em>Midsummer Night\u2019s Dream<\/em><\/span>\n<ul>\n<li><span style=\"font-size: 10pt;\">Kott, \u201cTitania and the Ass\u2019s Head,\u201d <em>ShOC<\/em>, 171-190<\/span><\/li>\n<li><span style=\"font-size: 10pt;\">Kott, \u201cThe Bottom Translation,\u201d <em>BT<\/em>, 29-68<\/span><\/li>\n<\/ul>\n<\/li>\n<li><span style=\"font-size: 10pt;\"><em>The<\/em> <em>Tempest<\/em><\/span>\n<ul>\n<li><span style=\"font-size: 10pt;\">Frye, <em>On Shakespeare<\/em>, 171-186<\/span><\/li>\n<li><span style=\"font-size: 10pt;\">Kott, \u201cProspero\u2019s Staff,\u201d <em>ShOC<\/em>, 237-278<\/span><\/li>\n<\/ul>\n<\/li>\n<li><span style=\"font-size: 10pt;\"><em>The<\/em> <em>Tempest<\/em><\/span>\n<ul>\n<li><span style=\"font-size: 10pt;\">Kott, \u201c<em>The Tempest<\/em>, or Repetition,\u201d <em>BT<\/em>, 69-106<\/span><\/li>\n<li><span style=\"font-size: 10pt;\">McGuire, \u201cShakespeare\u2019s <em>Tempest<\/em>: Rhetoric and Poetics\u201d<\/span><\/li>\n<\/ul>\n<\/li>\n<li><span style=\"font-size: 10pt;\"><em>Measure<\/em> <em>for Measure<\/em><\/span>\n<ul>\n<li><span style=\"font-size: 10pt;\">Frye, <em>On Shakespeare<\/em>, 140-153<\/span><\/li>\n<li><span style=\"font-size: 10pt;\">Stevenson, \u201cDesign and Structure in <em>Measure for Measure<\/em>\u201d<\/span><\/li>\n<\/ul>\n<\/li>\n<li><span style=\"font-size: 10pt;\"><em>Measure<\/em> <em>for Measure<\/em><\/span>\n<ul>\n<li><span style=\"font-size: 10pt;\">Kott<em>, <\/em>\u201cHead for Maidenhead, Maidenhead for Head: The Structure of Exchange in<em> Measure for Measure<\/em>\u201d<\/span><\/li>\n<li><span style=\"font-size: 10pt;\">Schanzer, \u201c<em>Measure for Measure<\/em>\u201d<\/span><\/li>\n<\/ul>\n<\/li>\n<li><span style=\"font-size: 10pt;\"><em>Macbeth<\/em><\/span>\n<ul>\n<li><span style=\"font-size: 10pt;\">Kott, \u201cMacbeth or Death-Infected,\u201d <em>ShOC<\/em>, 68-78<\/span><\/li>\n<li><span style=\"font-size: 10pt;\">Byles, \u201c<em>Macbeth<\/em>: Imagery of Destruction\u201d<\/span><\/li>\n<li><span style=\"font-size: 10pt;\">Nevo, \u201c<em>Macbeth<\/em>,\u201d <em>TF<\/em>, 214-257<\/span><\/li>\n<\/ul>\n<\/li>\n<li><span style=\"font-size: 10pt;\"><em>Macbeth<\/em><\/span>\n<ul>\n<li><span style=\"font-size: 10pt;\">Knight, \u201c<em>Macbeth<\/em> and the Metaphysic of Evil,\u201d <em>WF<\/em>, 140-159<\/span><\/li>\n<li><span style=\"font-size: 10pt;\">Knight, \u201cThe Milk of Concord,\u201d <em>IT<\/em>, 125-153<\/span><\/li>\n<li><span style=\"font-size: 10pt;\">Garber, \u201cMacbeth: the Male Medusa,\u201d <em>GW<\/em>, 116-165<\/span><\/li>\n<\/ul>\n<\/li>\n<li><span style=\"font-size: 10pt;\"><em>Richard<\/em> <em>III<\/em><\/span>\n<ul>\n<li><span style=\"font-size: 10pt;\">Kott, \u201cThe Kings,\u201d <em>ShOC<\/em>, 3-46<\/span><\/li>\n<li><span style=\"font-size: 10pt;\">Campbell, \u201cThe Tragical Doings of King Richard III\u201d<\/span><\/li>\n<\/ul>\n<\/li>\n<li><span style=\"font-size: 10pt;\"><em>Richard<\/em> <em>III<\/em><\/span>\n<ul>\n<li><span style=\"font-size: 10pt;\">Rossiter, \u201cAngel with Horns: the Unity of <em>Richard III<\/em>,\u201d <em>AwH<\/em>, 1-22<\/span><\/li>\n<li><span style=\"font-size: 10pt;\">Brooke, \u201c<em>Richard III<\/em> (1593?)\u201d<\/span><\/li>\n<li><span style=\"font-size: 10pt;\">Garber, \u201cDescanting on Deformity: Richard III and the Shape of History,\u201d <em>GW<\/em>, 39-68<\/span><\/li>\n<\/ul>\n<\/li>\n<li><span style=\"font-size: 10pt;\"><em>Coriolanus<\/em><\/span>\n<ul>\n<li><span style=\"font-size: 10pt;\">Knight, \u201cThe Royal Occupation,\u201d <em>IT<\/em>, 154-198<\/span><\/li>\n<li><span style=\"font-size: 10pt;\">Nevo, \u201c<em>Coriolanus<\/em>,\u201d <em>TF<\/em>, 356-404<\/span><\/li>\n<\/ul>\n<\/li>\n<li><span style=\"font-size: 10pt;\"><em>Coriolanus<\/em><\/span>\n<ul>\n<li><span style=\"font-size: 10pt;\">Kott, \u201cCoriolanus or Shakespearean Contradictions,\u201d <em>ShOC<\/em>, 141-167<\/span><\/li>\n<li><span style=\"font-size: 10pt;\">Rossiter, \u201c<em>Coriolanus<\/em>,\u201d <em>AwH<\/em>, 235-252<\/span><\/li>\n<li><span style=\"font-size: 10pt;\">Brlek, \u201cIll Seen, Well Said\u201d<\/span><\/li>\n<\/ul>\n<\/li>\n<\/ol>\n<p><span style=\"font-size: 10pt;\"><strong><em><br \/>\n<span style=\"text-decoration: underline;\">READING LIST<\/span><\/em><\/strong><\/span><\/p>\n<p><span style=\"font-size: 10pt;\">Northrop Frye, <em>On Shakespeare<\/em>, ed. Robert Sandler (New Haven: Yale University Press, 1986)<\/span><\/p>\n<p><span style=\"font-size: 10pt;\">Marjorie Garber, <em>Shakespeare\u2019s Ghost Writers: Literature as Uncanny Causality<\/em> (London: <a href=\"https:\/\/koha.ffzg.hr\/cgi-bin\/koha\/opac-search.pl?q=Provider:Routledge,\">Routledge,<\/a> 1987; 2010) = <strong><em>GW<\/em><\/strong><\/span><\/p>\n<p><span style=\"font-size: 10pt;\">Ren\u00e9 Girard,<em> A Theater of Envy: William Shakespeare <\/em>(Oxford: Oxford University Press, 1991)<\/span><\/p>\n<ol>\n<li><span style=\"font-size: 10pt;\">Wilson Knight, <em>The Wheel of Fire: Interpretations of Shakespearian Tragedy with three new essays <\/em>(London: <a href=\"https:\/\/koha.ffzg.hr\/cgi-bin\/koha\/opac-search.pl?q=Provider:Methuen%20and%20Co.,\">Methuen<\/a>, 1930; 1962) =<em> <strong>WF<\/strong><\/em><\/span><\/li>\n<li><span style=\"font-size: 10pt;\">Wilson Knight, <em>The Imperial Theme: Further Interpretations of Shakespeare\u2019s Tragedies including the Roman Plays <\/em>(London: Methuen, 1931; 1965) = <strong><em>IT<\/em><\/strong><\/span><\/li>\n<\/ol>\n<p><span style=\"font-size: 10pt;\">Jan Kott, <em><a href=\"http:\/\/katalog.kgz.hr\/pagesResults\/bibliografskiZapis.aspx?&amp;currentPage=1&amp;searchById=20&amp;sort=0&amp;spid0=20&amp;spv0=%c5%a1ekspir+na%c5%a1+savremenik&amp;selectedId=910205004\">Shakespeare Our Contemporary<\/a><\/em> [1964], tr. Boleslaw Taborski (London: Routledge, 1991) =<strong><em>ShOC<\/em><\/strong><\/span><\/p>\n<p><span style=\"font-size: 10pt;\">Jan Kott, <em>The Bottom Translation : Marlowe and Shakespeare and the Carnival tradition<\/em>, tr. Daniela Miedzyrzecka and Lillian Vallee (Evanston, Ill.: Northwestern University Press, 1987) = <strong><em>BT<\/em><\/strong><\/span><\/p>\n<p><span style=\"font-size: 10pt;\">Ruth Nevo,<em> Tragic Form in Shakespeare <\/em>(Princeton: <a href=\"https:\/\/koha.ffzg.hr\/cgi-bin\/koha\/opac-search.pl?q=Provider:Princeton%20University%20Press,\">Princeton University Press,<\/a> 1972) = <strong><em>TF<\/em><\/strong><\/span><\/p>\n<p><span style=\"font-size: 10pt;\">A.P. Rossiter, <em>Angel with Horns and Other Shakespeare Lectures<\/em>, ed. Graham Storey (London: Longmans, 1962), = <strong><em>AwH<\/em><\/strong><\/span><\/p>\n<p><span style=\"color: #9fb5c4; font-size: 10pt;\">_______________________<\/span><\/p>\n<p><span style=\"font-size: 10pt;\">Tomislav Brlek, \u201cIll Seen, Well Said (On the Uses of Rhetoric in <em>Julius Caesar<\/em> and <em>Coriolanus<\/em>),\u201d <em><a href=\"https:\/\/koha.ffzg.hr\/cgi-bin\/koha\/opac-search.pl?q=ti,phr:Studia%20Romanica%20et%20Anglica%20Zagrabiensia\">Studia Romanica et Anglica Zagrabiensia<\/a><\/em> 43 (1998): 161-171<\/span><\/p>\n<p><span style=\"font-size: 10pt;\">Nicholas Brooke, \u201c<em>Richard III<\/em> (1593?),\u201d <em>Shakespeare\u2019s Early Tragedies<\/em> (London: Methuen, 1968), 48-79<\/span><\/p>\n<p><span style=\"font-size: 10pt;\">Joan M. Byles, \u201c<em>Macbeth<\/em>: Imagery of Destruction,\u201d <em>American Imago <\/em>39(1982)2: 149-164<\/span><\/p>\n<p><span style=\"font-size: 10pt;\">Lily B. Campbell, \u201cThe Tragical Doings of King Richard III,\u201d <em>Shakespeare\u2019s \u2018Histories\u2019: Mirrors of Elizabethan Policy<\/em> (London: Methuen, 1947; 1964), 306-334<\/span><\/p>\n<p><span style=\"font-size: 10pt;\">T.S. Eliot, \u201cIntroduction\u201d in Knight, <em>WF<\/em>, xiii-xx<\/span><\/p>\n<p><span style=\"font-size: 10pt;\">Jan Kott<em>, <\/em>\u201cHead for Maidenhead, Maidenhead for Head: The Structure of Exchange in<em> Measure for Measure<\/em>,\u201d <em>Theater Quarterly <\/em>8.31 (1978): 18-24<\/span><\/p>\n<p><span style=\"font-size: 10pt;\">Jerry D. McGuire, \u201cShakespeare\u2019s <em>Tempest<\/em>: Rhetoric and Poetics,\u201d <em>American Imago<\/em> 39 (1982)3: 219-37<\/span><\/p>\n<p><span style=\"font-size: 10pt;\">Ernest Schanzer, \u201c<em>Measure for Measure<\/em>,\u201d <em>The Problem Plays of Shakespeare<\/em> (Routledge, 1963), 71-131<\/span><\/p>\n<p><span style=\"font-size: 10pt;\">L. Stevenson, \u201cDesign and Structure in <em>Measure for Measure<\/em>,\u201d <em>Shakespeare: <\/em>Measure for Measure<em>: A Casebook<\/em>, ed. C.K. Stead (London; Macmillan, 1971), 213-232<\/span><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Course title: Shakespeare Instructor: Asst. Prof.\u00a0Tomislav Brlek ECTS credits: 6 Language: English Duration: Semester 4 to 6 Status: elective Enrolment requirements: completed Introduction to English Lit\/Introduction to English Lit 1 and 2 The course is designed as an analysis of William Shakespeare&#8217;s works in the light of the fact that they were written for theatre [&hellip;]<\/p>\n","protected":false},"author":6,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[146],"tags":[],"class_list":["post-28110","post","type-post","status-publish","format-standard","hentry","category-knjizevni-seminari-4-ili-6-semestar-2"],"_links":{"self":[{"href":"https:\/\/anglist.ffzg.unizg.hr\/index.php?rest_route=\/wp\/v2\/posts\/28110","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/anglist.ffzg.unizg.hr\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/anglist.ffzg.unizg.hr\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/anglist.ffzg.unizg.hr\/index.php?rest_route=\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/anglist.ffzg.unizg.hr\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=28110"}],"version-history":[{"count":3,"href":"https:\/\/anglist.ffzg.unizg.hr\/index.php?rest_route=\/wp\/v2\/posts\/28110\/revisions"}],"predecessor-version":[{"id":41216,"href":"https:\/\/anglist.ffzg.unizg.hr\/index.php?rest_route=\/wp\/v2\/posts\/28110\/revisions\/41216"}],"wp:attachment":[{"href":"https:\/\/anglist.ffzg.unizg.hr\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=28110"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/anglist.ffzg.unizg.hr\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=28110"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/anglist.ffzg.unizg.hr\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=28110"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}