Publisher's Synopsis
This book is a collection of thematically related yet distinct research papers written over a period of twenty-two years. The book uses cross-stitches of "alienation-effect" of Brecht, themes of "emotional unconscious" in Shakespeare's finest tragedies, and the semiotic barriers of silence and broken language in his plays. The book includes two preliminary short papers featuring the mature and post-Shakespearean revolutions and social contexts. The seminal context is semiotic deconstruction of Shakespeare's broken verse structure with the premise that the First Folio original structures are intentional and psychologically relevant. The major body of research involves an entirely ground-breaking study of socio-psychological justification of the Shakespeare's experiments with semantics and short lines, and their adaptations through the history of theatre and cinema.
The author brings experiential critical thoughts from his days at the Shakespeare Institute, Stratford-upon-Avon, Royal Shakespeare Company associations, and his Cambridge University days. The author weaves the seemingly distinct researches through the common themes of Medieval carryovers in the Elizabethan mindset, and at the same time, Shakespeare's time leaps into "alienation on stage" which led to absurdness and abruptness in the psyche of Shakespeare's tragic protagonists. The deconstruction of conventional semiotics of Shakespeare's language in Hamlet, King Lear, Macbeth, and Othello also encompass his characters from Coriolanus and Richard III. The book carries uniquely constructed Appendices which brings syntactic study of how Shakespeare's broken language is theatrically true and universally adaptive .
