Literature After Globalization: Textuality, Technology and ... - Page 2
Such an imperious projection is rejected by Shakespeare, however; refusing to endorse Octavius' vision of an ... Promoting the idea of an electronically connected world and introducing the concept ofthe global village, McLuhan takes King Lear as his point of departure for approaching the reshaping of consciousness and culture by media technologies.
Jonathan Baldo - 1996 - Preview
Contested Representation in Shakespeare's Tragedies Jonathan Baldo ... Stephen Batman took the sensitivity of the eye to be evidence of its greater " nobility," in Batman uppon Bartholome his ... As Foucault's takes a reading of Don Quixote as its point of departure, so does McLuhan's take off from a reading of King Lear, ...
CHAPTER 2 “Nothing Comes Out of Nothing” It was no coincidence that 1605 was also the year Shakespeare conceived King Lear, a work Marshall McLuhan ( 1962) terms as the unconscious interiorization of the print technology brought ...
Joyce helps us again to see McLuhan and Frye in this light. ... “Agrippa and Elizabethan Melancholy: George Chapman's Shadow of Night,” 157–71, and “ Shakespearean Fairies, Witches, Melancholy: King Lear and the Demons,” 172– 85.
July 25, 2013 - Written by Graham Holderness, University of Hertfordshire, United Kingdom [Originally published in Globalization and its Discontents: Writing the Global Culture. Essays and Studies, English Association and D.S. Brewer, Cambridge , pp. 24-46. Reprinted by permission of the author.] By Graham Holderness and Brian Loughrey
Shakespeare belongs wholly to the flux of global culture, and is no longer the property of any one national constituency. Shakespeare is irreversibly part of that ‘process by which a number of historical world societies were brought together into one global system’ (Modelski 2000: 49).
These three meanings of globalisation – global consciousness, cultural imperialism, universal communication – are historically linked, but distinguishable, and frequently in conflict one with another. Universal features of human existence common throughout the globe (such as love, or death) have no necessary relationship with the globe as a context or concept; and many products of globalisation (such as Coca-Cola) have no credible claim to universality. If Shakespeare has in fact survived the experience of empire in such a way as to import a potential universality of interest into a genuinely global consciousness, then this represents a remarkable transformation that should prompt us to look again at the map on the forehead on the cover of the Radio Times. If Shakespeare is now, to use Thomas Cartelli’s useful term, ‘repositioned’ beyond national boundaries and colonial authority, then he inhabits a genuinely non-national and multi-cultural global universe. And this is something new.
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