Shakespeare's Big Men

Richard van Oort is an associate professor in the Department of English at the University of Victoria.

• Chapter 1 - Why Shakespeare and Generative Anthropology?Chapter 2 - The Originary Hypothesis: Hierarchy, Resentment, and TragedyChapter 3 - Brutus’s Neoclassical IronyChapter 4 - Hamlet’s Filthy ImaginationChapter 5 - Iago Our Co-ConspiratorChapter 6 - Macbeth UnseamedChapter 7 - Coriolanus’s ImpotenceChapter 8 - Coda: RenÉ Girard’s Shakespeare

"Shakespeare’s Big Men is an earnest, ambitious, and illuminating book... Van Oort’s close readings, which occupy the better part of the book, are well paced, thorough, and careful... In the end, the greatest strength of the book is that van Oort manages to present a Shakespeare who is both an acute observer of human society and, as an artist, a contributor to it - someone whose tragic theater can defer violence. Admirers of Bradley and Girard will find a great deal to like in this book. Adherents to what Harold Bloom calls ‘French Shakespeare’ or the ‘school of resentment’ might do well to reckon with it."- Blair Hoxby (Modern Philology (2018)) "Shakespeare’s Big Men by Richard van Oort is one of the most intriguing and thought-provoking books to appear on Shakespeare in the past few years. Drawing on the anthropologies of Eric Gans and René Girard, van Oort argues that Shakespeare’s tragedies provide a way of dealing with the problem of resentment... Through compelling readings of Julius Caesar, Hamlet, Othello, Macbeth and Coriolanus, van Oort proposes that Shakespearean tragedy goes further [than Greek tragedy] in its anthropological insights, thematizing tragedy’s role in the discharge of resentment."- Paul Kottman (Shakespeare Jahrbuch (2018)) ‘Shakespeare’s Big Men is an earnest, ambitious and illuminating book.’- Blair Hoxby (Modern Philology vol 115:04:2017) "Van Oort’s strategy of comparing the structural significance and experiences of characters from play to play energizes and strengthens his claims. The book is especially intriguing for its compelling exploration of tragic meta-theatricality as a sign of the frightening and stimulating openness of the early modern centre."- Glenn Clark, University of Manitoba (University of Toronto Quarterly, vol 87 3, Summer 2018)