voplitВопросы литературыVoprosy literatury0042-8795Avtonomnaja nekommercheskaja organizacija Redakcija zhurnala kritiki i literaturovedenija «Voprosy literatury»10.31425/0042-8795-2019-6-176-195voplit-257Research ArticleТЕОРИЯ: ПРОБЛЕМЫ И РАЗМЫШЛЕНИЯTHEORY: PROBLEMS AND REFLECTIONSШекспир и Маркс, писатель и общество.Перевод с английского Н. КолтаевскойShakespeare and Marx, the writer and the society.Translated by E. KoltaevskayaИганГабриельEganGabriel

доктор филологических наукLE1, Великобритания, г. Лестер, д. 9BH

PhD in Philology

The Gateway, Leicester, LE1 9BH, United Kingdom  

gega@dmu.ac.ukУниверситет Де МонфорВеликобританияDe Montfort UniversityUnited Kingdom20191912201906176195Copyright © Avtonomnaja nekommercheskaja organizacija Redakcija zhurnala kritiki i literaturovedenija «Voprosy literatury», 20192019Avtonomnaja nekommercheskaja organizacija Redakcija zhurnala kritiki i literaturovedenija «Voprosy literatury»Avtonomnaja nekommercheskaja organizacija Redakcija zhurnala kritiki i literaturovedenija «Voprosy literatury»https://www.voplit.com/jour/about/submissions#copyrightNoticehttps://www.voplit.com/jour/article/view/257

В статье методы У. Шекспира – драматурга сравниваются с философскими методиками К. Маркса. Утверждается, что понимание Марксом процесса производства является универсальным методологическим средством. Автор статьи использует данное средство для анализа Шекспира- драматурга, поскольку последний активно сотрудничал с различными писателями. В статье подчеркивается, что такой подход коренным образом меняет устоявшееся в научном сообществе мнение о Шекспире.

The work touches on the popular concept of the relationship between society and the writing process, suggesting the relevance of certain ideas stemming from Karl Marx for the study of the Shakespearean legacy. Marx’s idea that creative potential shines at its best in society, and that personal freedom emerges through interconnectedness of individuals, rings new and up to date in the modern world and for Shakespearean studies in particular. Through examples taken from Shakespeare’s plays and examination of professional organization of literary research in the form of academic journals and international associations, this paper argues that the Marxist image of society helps to consider literary creativity from a new viewpoint. Invoking the latest discoveries in the feld of Shakespeare biography and professional practices, especially his extensive collaboration with other playwrights, the article demonstrates how ideas of the two great thinkers and writers, Shakespeare and Marx, interact in the sphere of the best contemporary literary-critical practices.

У. Шекспиравторствоколлективное творчествомарксизмW. ShakespeareMarxismauthorshipcollective authorshipReferencesШайтанов И. <Рец. на кн.> L. Erne. «Shakespeare as Literary Dramatist» // Вопросы литературы. 2015. № 3. С. 398–401.A transcript of the registers of the company of stationers of London 1554-1640 AD. (1875). In: E. Arber, ed., Entries of apprentices and freemen, calls on the livery, and fnes to 2 July 1605 (5 vols). Vol. 2: Text. Entries of books to 25 June 1595. London: Privately printedA transcript of the registers of the company of stationers of London 1554–1640 AD // Entries of apprentices and freemen, calls on the livery, and fnes to 2 July 1605. 5 vols. Vol. 2: Text. Entries of books to 25 June 1595 / Ed. by E. Arber. London: Privately printed, 1875.Barthes, R. (1977). Image–Music–Text. London: Fontana.Blayney, P. W. M. (1997). The publication of playbooks. In: J. D. Cox and D. S. Kastan, eds., A new history of early English drama. New York: Columbia U. P., pp. 383-422.Barthes R. Image—Music—Text. London: Fontana, 1977.Boddy, G. W. (1976). Players of interludes in North Yorkshire in the early seventeenth century. North Yorkshire Country Records Ofce Journal, 3, pp. 95-130.Blayney P. W. M. The publication of playbooks // A new history of early English drama / Ed. by J. D. Cox and D. S. Kastan. New York: Columbia U. P., 1997. P. 383–422.Brown, P. (2017). Early modern theatre people and their social networks. PhD. De Montfort University.Boddy G. W. Players of interludes in North Yorkshire in the early seventeenth century // North Yorkshire Country Records Ofce Journal. 1976. № 3. P. 95–130.Bruster, D. (2006). Review of ‘Shakespeare and Marx’, by Gabriel Edan. Shakespeare Quarterly, 57, pp. 105-107.Brown P. Early modern theatre people and their social networks. Doctor of Philosophy. De Montfort University, 2017.Craig, H. and Kinney, A. F. (2009). Shakespeare, computers, and the mystery of authorship. Cambridge: Cambridge U. P.Bruster D. Review of «Shakespeare and Marx», by Gabriel Egan // Shakespeare Quarterly. 2006. № 57. P. 105–107.Cressy, D. (1980). Literacy and the social order: Reading and writing in Tudor and Stuart England. Cambridge: Cambridge U. P.Craig H., Kinney A. F. Shakespeare, computers, and the mystery of authorship. Cambridge: Cambridge U. P., 2009.Duncan-Jones, K. (2010). Shakespeare: an ungentle life (Arden Shakespeare). London: MethuenCressy D. Literacy and the social order: Reading and writing in Tudor and Stuart England. Cambridge: Cambridge U. P., 1980.Egan, G. (2006). ‘As it was, is, or will be played’: Title-pages and the theatre industry to 1610. In: P. Holland and S. Orgel, eds., From performance to print in early Shakespeare’s England. London: Palgrave Macmillan, pp. 92-110.Duncan-Jones K. Shakespeare: an ungentle life (Arden Shakespeare). London: Methuen, 2010.Engels, F. (1940). The origin of the family, private property, and the state: In the light of the researches of Lewis H. Morgan. London: Lawrence and Wishart.Egan G. «As it was, is, or will be played»: Title-pages and the theatre industry to 1610 // From performance to print in early Shakespeare’s England / Ed. by P. Holland and S. Orgel. London: Palgrave Macmillan, 2006. P. 92–110.Erne, L. (2003). Shakespeare as literary dramatist. Cambridge: Cambridge U. P.Engels F. The origin of the family, private property, and the state: In the light of the researches of Lewis H. Morgan. London: Lawrence and Wishart, 1940.Erne, L. (2013). Shakespeare and the book trade. Cambridge: Cambridge U. P.English professional theatre, 1530–1660. Theatre in Europe: A documentary history / Ed. by G. Wickham, H. Berry, W. Ingram. Cambridge: Cambridge U. P., 2000.Harris, J. (1989). The idea of community in the study of writing. College Composition and Communication, 40(1), pp. 11-22Erne L. Shakespeare as literary dramatist. Cambridge: Cambridge U. P., 2003Heinemann, M. (1985). How Brecht read Shakespeare. In: J. Dollimore and A. Sinfeld, eds., Political Shakespeare: New essays in cultural materialism. Manchester: Manchester U. P., pp. 202-230.Erne L. Shakespeare and the book trade. Cambridge: Cambridge U. P., 2013.Honan, P. (2004). Henry Wriothesley, third Earl of Southampton (1573-1624). In: H. C. G. Matthew, B. Harrison and L. Goldman, eds., Oxford dictionary of national biography. Oxford: Oxford U. P.Harris J. The idea of community in the study of writing // College Composition and Communication. 1989. № 1 (40). P. 11–22.Kathman, D. (2004). Richard Field (1561-1624). In: H. C. G. Matthew, B. Harrison and L. Goldman, eds., Oxford dictionary of national biography. Oxford: Oxford U. P.Heinemann M. How Brecht read Shakespeare // Political Shakespeare: New essays in cultural materialism / Ed. by J. Dollimore and A. Sinfeld. Manchester: Manchester U. P., 1985. P. 202–230.Keenan, S. (2013). The Simpson players of Jacobean Yorkshire and the professional stage. Theatre Notebook, 67, pp. 16-35.Honan P. Henry Wriothesley, third Earl of Southampton (1573–1624) // Oxford dictionary of national biography / Ed. by H. C. G. Matthew, B. Harrison and L. Goldman. Oxford: Oxford U. P., 2004.Knutson, R. L. (2001). Playing companies and commerce in Shakespeare’s time. Cambridge: Cambridge U. PKathman D. Richard Field (1561–1624) // Oxford dictionary of national biography. 2004.Marx, K. (1899). Value, price and proft: Addressed to working men. London: George Allen and Unwin.Keenan S. The Simpson players of Jacobean Yorkshire and the professional stage // Theatre Notebook. 2013. № 67. P. 16–35Masten, J. (1997). Textual intercourse: Collaboration, authorship, and sexualities in Renaissance drama. Cambridge: Cambridge U. P.Knutson R. L. Playing companies and commerce in Shakespeare’s time. Cambridge: Cambridge U. P., 2001.Megill, K. (1970). The community in Marx’s philosophy. Philosophy and Phenomenological Research, 30(3), pp. 382-393.Marx K. Value, price and proft: Addressed to working men. London: George Allen and Unwin, 1899.Ostrovsky, A. (2006). Shakespeare as a founding father of socialist realism: The Soviet afair with Shakespeare. In: I. R. Makaryk and J. G. Price, eds., Shakespeare in the worlds of communism and socialism. Toronto: University of Toronto Press, pp. 56-83.Marx K., Engels F. The German ideology. London: Lawrence and Wishart, 1974Pitcher, J. (2004). Samuel Daniel (1562/3-1619). In: H. C. G. Matthew, B. Harrison and L. Goldman, eds., Oxford dictionary of national biography. Oxford: Oxford U. PMasten J. Textual intercourse: collaboration, authorship, and sexualities in Renaissance drama. Cambridge: Cambridge U. P., 1997.Sartre, J.-P. (1986). What is literature? London: Methuen.Megill K. The community in Marx’s philosophy // Philosophy and Phenomenological Research. 1970. № 3 (30). P. 382–393.Sisson, C. J. (1942). Shakespeare quartos as prompt-copies. Review of English Studies, 18, pp. 129-143.Ostrovsky A. Shakespeare as a founding father of socialist realism: The Soviet afair with Shakespeare // Shakespeare in the worlds of communism and socialism / Ed. by I. R. Makaryk and J. G. Price. Toronto: University of Toronto Press, 2006. P. 56–83.Shaytanov, I. (2015). Review of ‘Shakespeare as Literary Dramatist’, by L. Erne. Voprosy Literatury, 3, pp. 398-401. (In Russ.)Pitcher J. Samuel Daniel (1562/3–1619) // Oxford dictionary of national biography. 2004.Tarlinskaja, M. (1987). Shakespeare’s verse: Iambic pentameter and the poet’s idiosyncrasies. New York: Peter Lang.Sartre J.-P. What is literature? London: Methuen, 1986.Tarlinskaja, M. (1993). Strict stress-meter in English poetry compared with German and Russian. Calgary: University of Calgary Press.Sisson C. J. Shakespeare quartos as prompt-copies // Review of English Studies. 1942. № 18. P. 129–143.Taylor, G. and Egan G., eds. (2017). The new Oxford Shakespeare: Authorship companion. Oxford: Oxford U. P.Tarlinskaja M. Shakespeare’s verse: Iambic pentameter and the poet’s idiosyncrasies. New York: Peter Lang, 1987.Taylor, G., Jowett, J., Bourus, T. and Egan G., eds. (2016). The new Oxford Shakespeare complete works: Modern critical edition. Oxford: Oxford U. P.Tarlinskaja M. Strict stress-meter in English poetry compared with German and Russian. Calgary: University of Calgary Press, 1993.Taylor, G., Jowett, J., Bourus, T. and Egan G., eds. (2017). The new Oxford Shakespeare complete works: Critical reference edition. Oxford: Oxford U. P.The new Oxford Shakespeare: Authorship companion / Ed. by G. Taylor, G. Egan. Oxford: Oxford U. P., 2017.Wickham, G., Berry, H. and Ingram, W., eds. (2000). English professional theatre, 1530-1660. Theatre in Europe: A documentary history. Cambridge: Cambridge U. P.he new Oxford Shakespeare complete works: Modern critical edition / Ed. by G. Taylor, J. Jowett, T. Bourus, and G. Egan. Oxford: Oxford U. P., 2016.he new Oxford Shakespeare complete works: Modern critical edition / Ed. by G. Taylor, J. Jowett, T. Bourus, and G. Egan. Oxford: Oxford U. P., 2016.The new Oxford Shakespeare complete works: Critical reference edition / Ed. by G. Taylor, J. Jowett, T. Bourus, and G. Egan. Oxford: Oxford U. P., 2017.The new Oxford Shakespeare complete works: Critical reference edition / Ed. by G. Taylor, J. Jowett, T. Bourus, and G. Egan. Oxford: Oxford U. P., 2017.

The authors declare that there are no conflicts of interest present.