Annotated Bibliography On Macbeth

Works Cited "Battles of Lexington and Concord." American History. ABC-CLIO, 2012. Web. 25 Oct. 2012. Higginbotham, R. Don. "Battle of Lexington and Concord." Great Events from History: The Eighteenth Century. Ed. John Powell. 2 vols. Salem Press, 2006. Salem History Web. 25 Oct. 2012.
Sankey, Margaret. "Battles of Lexington and Concord." History.com. A&E Television Networks, 1996-2012. Web. 25 Oct. 2012. . Bell, Richard. “Revere, Pal (1735- 1818).” Colonial America Sharpe Online Reference (2012): n. pag. Web. 26 Oct 2012. . "Lexington and Concord, Battles of." Colonial America. Sharpe Online Reference (2012): n. pag. Web. 26 Oct 2012. . "Paul Revere." American History. ABC-CLIO, 2012. Web. 26 Oct. 2012. Ward, Harry M. "Paul
But the portrayal of murder in the play shows us that Macbeth also belongs to a history of ideas that extends far beyond the boundaries of early modernity. Through its treatment of crime, Macbeth manifests in specifically theatrical terms a nondualistic way of thinking articulated variously by Aristotle, Aquinas, Husserl, Heidegger, Merleau- Ponty, and Arendt, each of whom in their own way have sought to reclaim action, vision, sensation, and collective physical experience back into the domain of the mental. Shakespeare’s phenomenology of crime leads us beyond the egocentric predicament of Platonic and Cartesian philosophy to an intentional form of consciousness where one thinks with things and makes plans for the past. It invites us, in Merleau-Ponty’s words, to “rediscover” a place “anterior to the ideas of subject and object,” a “primordial layer at which both things and ideas come into being.”32 For scholars interested in literature and law, this approach to Macbeth offers new ways of thinking about law’s knowledgemaking properties, since it puts the artistic rendering of criminality into conversation with systematic attempts to model human experience and consciousness in philosophy. For Shakespeareans, it offers an opportunity to reevaluate what legal themes could be made to do in Shakespeare’s plays. The dagger soliloquy shows the juridical serving as an occasion for, not just a subject of, contemplation and inquiry: the exploration of murder in the scene opens out to a larger exploration of perception. To interrogate the line between innocence and guilt, Shakespeare seems to tells us, is also to interrogate the line between mind and matter, subject and object, conceiving and doing, being and feeling. In positing a certain way of thinking about infraction, Macbeth also offers