- Title Pages
- A Sonnet for Harry on the Occasion of His Celebration in the year 2006 In Columbia S. Carolina
- Chapter 1 Enlisting in Harry Berger's Imaginary Forces
- Chapter 2 Harry Berger and Self-Hatred
- Chapter 3 Complicity and Catharsis: the Immature Criticism of Harry Berger
- Chapter 4 Sack Drama
- Chapter 5 Redistributing Complicities in an Age of Digital Production: Michael Radford's Film Version of <i>The Merchant of Venice</i>
- Chapter 6 Acrasian Fantasies: Outsides, Insides, Upsides, Downsides in the Bower of Bliss
- Chapter 7 Harry Berger's Genius: Porting Pleasure in the Bower of Bliss
- Chapter 8 Taking Another Peek
- Chapter 9 Close Reading Transformed: The New Criticism and the World
- Chapter 10 Thinking Culture, and Beyond
- Chapter 11 Bergerama: New Critical and Poststructural Theory in the Work of Harry Berger, Jr.
- Chapter 12 The Power of Prodigality in the Work of Derek Walcott and Harry Berger
- Chapter 13 Harry Berger's <i>Sprezzatura</i> and the Poses of Cicero's <i>De Oratore</i>
- Chapter 14 What Art Historians Can Learn from Harry
- Chapter 15 Platonic Irony in Berger
- Chapter 16 Situating Harry's Plato
- Chapter 17 The Seminal and the Inimitable: An Adventure in Harryland
- Chapter 18 How Harry Taught
- Chapter 19 Harry Berger's Intellectual Community
- Chapter 20 Backlooping: Life in a Revisionary Enclave
- Select Publications Index
- (p.45) Chapter 4 Sack Drama
- A Touch More Rare
David Lee Miller
- Fordham University Press
The arguments that where all such sack drama that includes the figure of Falstaff is supposed to have been left behind, it returns, drunk and railing. To theorize the writer's discourse requires an effort to interpret the playwright's playmaking practice at the point of, or hinge of, the dialectical relationship between reading and writing. The author has tried to follow Harry Berger in claiming that Henry's struggle with himself is inexorably connected to his struggle with Falstaff suggesting also that we can attend to the displacements of the playwright's reading into his writing through the inability to exclude Oldcastle-in-Falstaff.
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