Greenblatt is one of the founders of new historicism, a set of critical practices that he often refers to as "cultural poetics"; his works have been influential since the early 1980s when he introduced the term. Greenblatt has written and edited numerous books and articles relevant to new historicism, the study of culture, Renaissance studies and Shakespeare studies and is considered to be an expert in these fields. He is also co-founder of the literary-cultural journal Representations, which often publishes articles by new historicists. His most popular work is Will in the World, a biography of Shakespeare that was on The New York Times Best Seller list for nine weeks.[1] He won the Pulitzer Prize for General Non-Fiction in 2012 and the National Book Award for Nonfiction in 2011 for The Swerve: How the World Became Modern.[2][3]
Life and career
Education and career
Greenblatt was born in Boston and raised in Newton, Massachusetts. After graduating from Newton High School, he was educated at Yale University (BA 1964, PhD 1969) and Pembroke College, Cambridge (MPhil 1966).[4] Greenblatt has since taught at the University of California, Berkeley, and Harvard University. He was Class of 1972 Professor at Berkeley (becoming a full professor in 1980) and taught there for 28 years before taking a position at Harvard University.[5] He was named John Cogan University Professor of the Humanities in 2000. Greenblatt is considered "a key figure in the shift from literary to cultural poetics and from textual to contextual interpretation in U.S. English departments in the 1980s and 1990s."[6]
In February 2022, Greenblatt was one of 38 Harvard faculty to sign a letter to The Harvard Crimson defending Professor John Comaroff, who had been found to have violated the university's sexual and professional conduct policies.[13] After students filed a lawsuit with detailed allegations of Comaroff's actions and the university's failure to respond, Greenblatt was one of several signatories to say that he wished to retract his name from the letter.[14]
Family
Greenblatt is an Eastern European Jew, an Ashkenazi, and a Litvak. His observant Jewish grandparents were born in Lithuania; his paternal grandparents were from Kaunas and his maternal grandparents were from Vilnius.[15] Greenblatt's grandparents immigrated to the United States during the early 1890s in order to escape a Czarist Russification plan to conscript young Jewish men into the Russian army.[16]
In 1998, he married literary critic Ramie Targoff, whom he has described as his soulmate.[4]
Work
Greenblatt has written extensively on Shakespeare, the Renaissance, culture and New Historicism (which he often refers to as "cultural poetics"). Much of his work has been "part of a collective project", such as his work as co-editor of the Berkeley-based literary-cultural journal Representations (which he co-founded in 1983), as editor of publications such as the Norton Anthology of English Literature, and as co-author of books such as Practicing New Historicism (2000), which he wrote with Catherine Gallagher. Greenblatt has also written on such subjects as travelling in Laos and China, story-telling, and miracles.
Greenblatt's collaboration with Charles L. Mee, Cardenio, premiered on May 8, 2008, at the American Repertory Theater in Cambridge, Massachusetts. While the critical response to Cardenio was mixed, audiences responded quite positively. The American Repertory Theater has posted audience responses on the organization's blog. Cardenio has been adapted for performance in ten countries, with additional international productions planned.[citation needed]
Greenblatt first used the term "New Historicism" in his 1982 introduction to The Power of Forms in the English Renaissance wherein he uses Queen Elizabeth I's "bitter reaction to the revival of Shakespeare's Richard II on the eve of the Essex rebellion" to illustrate the "mutual permeability of the literary and the historical".[19] New Historicism is regarded by many to have influenced "every traditional period of English literary history".[20] Some critics have charged that it is "antithetical to literary and aesthetic value, that it reduces the historical to the literary or the literary to the historical, that it denies human agency and creativity, that it is somehow out to subvert the politics of cultural and critical theory [and] that it is anti-theoretical".[19] Scholars have observed that New Historicism is, in fact, "neither new nor historical."[21] Others praise New Historicism as "a collection of practices" employed by critics to gain a more comprehensive understanding of literature by considering it in historical context while treating history itself as "historically contingent on the present in which [it is] constructed".[19]
As stated by Shakespeare scholar Jonathan Bate, the approach of New Historicism has been "the most influential strand of criticism over the last 25 years, with its view that literary creations are cultural formations shaped by 'the circulation of social energy'."[4] When told that several American job advertisements were requesting responses from experts in New Historicism, Greenblatt remembered thinking: "'You've got to be kidding. You know it was just something we made up!' I began to see there were institutional consequences to what seemed like a not particularly deeply thought-out term."[4]
He has also said that "My deep, ongoing interest is in the relation between literature and history, the process through which certain remarkable works of art are at once embedded in a highly specific life-world and seem to pull free of that life-world. I am constantly struck by the strangeness of reading works that seem addressed, personally and intimately, to me, and yet were written by people who crumbled to dust long ago".[22]
Greenblatt's works on New Historicism and "cultural poetics" include Practicing New Historicism (2000) (with Catherine Gallagher), in which Greenblatt discusses how "they anecdote ... appears as the 'touch of the real'" and Towards a Poetics of Culture (1987), in which Greenblatt asserts that the question of "how art and society are interrelated," as posed by Jean-François Lyotard and Fredric Jameson, "cannot be answered by appealing to a single theoretical stance".[20]Renaissance Self-Fashioning and the introduction to the Norton Shakespeare are regarded as good examples of Greenblatt's application of new historicist practices.[19]
New Historicism acknowledges that any criticism of a work is colored by the critic's beliefs, social status, and other factors. Many New Historicists begin a critical reading of a novel by explaining themselves, their backgrounds, and their prejudices. Both the work and the reader are affected by everything that has influenced them. New Historicism thus represents a significant change from previous critical theories like New Criticism, because its main focus is to look at many elements outside of the work, instead of reading the text in isolation.
Shakespeare and Renaissance studies
Greenblatt's work contextualizes Shakespeare against the English Renaissance as a whole, believing "that nothing comes of nothing, even in Shakespeare."[23] In particular, as he states in "King Lear and Harsnett's 'Devil-Fiction'," Greenblatt believes that "Shakespeare's self-consciousness is in significant ways bound up with the institutions and the symbology of power it anatomizes".[24] His work on Shakespeare has addressed such topics as ghosts, purgatory, anxiety, exorcists and revenge. He is also a general editor of the Norton Shakespeare. This New Historicism opposes the ways in which New Criticism consigns texts "to an autonomous aesthetic realm that [dissociates] Renaissance writing from other forms of cultural production" and the historicist notion that Renaissance texts mirror "a coherent world-view that was held by a whole population," asserting instead "that critics who [wish] to understand sixteenth- and seventeenth-century writing must delineate the ways the texts they [study] were linked to the network of institutions, practices, and beliefs that constituted Renaissance culture in its entirety".[20] Greenblatt's work in Renaissance studies includes Renaissance Self-Fashioning (1980), which "had a transformative impact on Renaissance studies".[19]
Norton Anthology of English Literature
Greenblatt joined M. H. Abrams as general editor of The Norton Anthology of English Literature published by W. W. Norton during the 1990s.[25] He is also the co-editor of the anthology's section on Renaissance literature[26] and the general editor of the Norton Shakespeare, "currently his most influential piece of public pedagogy."[19]
Political commentary
Although it does not refer to Donald Trump directly, Greenblatt's 2018 book, Tyrant: Shakespeare on Power, is considered by literary critics in leading newspapers as thinly veiled criticism of the Trump administration.[27][28][29]
with Cohen, Walter; Howard, Jean; Maus, Katharine Eisaman, eds. (2008) [1997]. The Norton Shakespeare (2nded.). New York: W. W. Norton. ISBN978-0-393-92991-1.
1 2 3 Cadzow, Hunter; Conway, Alison; Traister, Bryce (2005). "New Historicism". Johns Hopkins Guide to Literary Theory and Criticism. Retrieved March 2, 2012.
↑ Vickers, Brian (1994). Appropriating Shakespeare: Contemporary Critical Quarrels. New Haven: Yale University Press. p.215. ISBN978-0300061055.
↑ Online version is titled "How St. Augustine invented sex".
↑ Online version is titled "Shakespeare's Cure for Xenophobia".
Further reading
Cadzow, Hunter; Conway, Alison; Traister, Bryce (2005). "New Historicism". Johns Hopkins Guide to Literary Theory and Criticism. Retrieved March 2, 2012.
Greenblatt, Stephen (1989). Shakespearean Negotiations: The Circulation of Social Energy in Renaissance England. Berkeley: University of California Press. ISBN978-0-520-06160-6.
The Western canon is the body of high-culture literature, music, philosophy, and works of art that are highly valued in the West; works that have achieved the status of classics. However, not all these works originate in the Western world, and such works are also valued throughout the globe. It is "a certain Western intellectual tradition that goes from, say, Socrates to Wittgenstein in philosophy, and from Homer to James Joyce in literature".
The late romances, often simply called the romances, are a grouping of William Shakespeare's last plays, comprising Pericles, Prince of Tyre; Cymbeline; The Winter's Tale; and The Tempest. The Two Noble Kinsmen, of which Shakespeare was co-author, is sometimes also included in the grouping. The term "romances" was first used for these late works in Edward Dowden's Shakspere (1877). Later writers have generally been content to adopt Dowden's term.
Literary theory is the systematic study of the nature of literature and of the methods for literary analysis. Since the 19th century, literary scholarship includes literary theory and considerations of intellectual history, moral philosophy, social philosophy, and interdisciplinary themes relevant to how people interpret meaning. In the humanities in modern academia, the latter style of literary scholarship is an offshoot of post-structuralism. Consequently, the word theory became an umbrella term for scholarly approaches to reading texts, some of which are informed by strands of semiotics, cultural studies, philosophy of language, and continental philosophy.
New Criticism was a formalist movement in literary theory that dominated American literary criticism in the middle decades of the 20th century. It emphasized close reading, particularly of poetry, to discover how a work of literature functioned as a self-contained, self-referential aesthetic object. The movement derived its name from John Crowe Ransom's 1941 book The New Criticism.
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Meyer Howard Abrams, usually cited as M. H. Abrams, was an American literary critic, known for works on romanticism, in particular his book The Mirror and the Lamp. Under Abrams's editorship, The Norton Anthology of English Literature became the standard text for undergraduate survey courses across the U.S. and a major trendsetter in literary canon formation.
David Martin Bevington was an American literary scholar. He was the Phyllis Fay Horton Distinguished Service Professor Emeritus in the Humanities and in English Language & Literature, Comparative Literature, and the college at the University of Chicago, where he taught since 1967, as well as chair of Theatre and Performance Studies. "One of the most learned and devoted of Shakespeareans," so called by Harold Bloom, he specialized in British drama of the Renaissance, and edited and introduced the complete works of William Shakespeare in both the 29-volume, Bantam Classics paperback editions and the single-volume Longman edition. After accomplishing this feat, Bevington was often cited as the only living scholar to have personally edited Shakespeare's complete corpus.
Self-fashioning, a term introduced in Stephen Greenblatt's 1980 book, Renaissance Self-Fashioning: from More to Shakespeare, refers to the process of constructing one's identity and public persona to reflect a set of cultural standards or social codes. Greenblatt described the process in the Renaissance era where a noble man was instructed to dress in the finest clothing he could afford, to be well versed and educated in art, literature, sport, and other culturally determined noble exercises, and to generally comport himself in a self-conscious manner. A concern for one's outwardly projected image was reflected in the portraiture of the era.
Jonathan G Dollimore is a British philosopher and critic in the fields of Renaissance literature, gender studies, queer theory, history of ideas, death studies, decadence, and cultural theory. He is the author of four academic books, a memoir, and numerous academic articles. With Alan Sinfield he was the co-editor of and key contributor to Political Shakespeare, and the co-originator of the critical practice known as cultural materialism. Dollimore is credited with making major interventions in debates on sexuality and desire, Renaissance literary culture, art and censorship, and cultural theory.
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Sandra M. Gilbert is an American literary critic and poet who has published in the fields of feminist literary criticism, feminist theory, and psychoanalytic criticism. She is best known for her collaborative critical work with Susan Gubar, with whom she co-authored, among other works, The Madwoman in the Attic (1979). Madwoman in the Attic is widely recognized as a text central to second-wave feminism. She is Professor Emerita of English at the University of California, Davis.
Sukanta Chaudhuri is an Indian literary scholar, now Professor Emeritus at Jadavpur University, Kolkata. He was educated at Presidency College, Kolkata and the University of Oxford. He taught at Presidency College from January 1973 to December 1991 and at Jadavpur University thereafter till his retirement in June 2010. At Jadavpur, he was founding Director of the School of Cultural Texts and Records, a pioneering centre of digital humanities in India. His chief fields of study are the English and European Renaissance, translation, textual studies and digital humanities. He has held visiting appointments at many places including All Souls College, Oxford; St John's College, Cambridge; the School of Advanced Study, London; University of Alberta, University of Virginia; and Loyola University, Chicago. He is an Honorary Fellow of the Asiatic Society, Kolkata and a member of the Executive Committee of the International Shakespeare Association. In July 2021, he was elected a Corresponding Fellow of the British Academy.
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Jane Taylor was a South African writer, playwright and academic. She held the Andrew W. Mellon Chair of Aesthetic Theory and Material Performance at the Centre for Humanities Research (CHR) at the University of the Western Cape in South Africa. She was the convenor of the Laboratory of Kinetic Objects (LoKO) which engages in performance as well as research and intellectual enquiry into the human and technological interface, the puppet, Artificial Intelligence (AI) and Intelligence Amplification (IA). Her performance/lecture “Ne’er So Much the Ape” explored the articulation of primate research, race theory, AI, and performance theory.
Professor Richard Wilson is the Sir Peter Hall Professor of Shakespeare Studies at Kingston University, London.
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New historicism, a form of literary theory which aims to understand intellectual history through literature and literature through its cultural context, follows the 1950s field of history of ideas and refers to itself as a form of cultural poetics. It first developed in the 1980s, primarily through the work of the critic Stephen Greenblatt, and gained widespread influence in the 1990s. Greenblatt coined the term new historicism when he "collected a bunch of essays and then, out of a kind of desperation to get the introduction done, he wrote that the essays represented something called a 'new historicism'".
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Eric Rasmussen is an American scholar, academic and author. He is Regents Teaching Professor and Foundation Professor of English at the University of Nevada.
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