Some Necessary Questions of the Play: A Stage-centered Analysis of Shakespeare's HamletBucknell University Press, 1994 - 171 Seiten In "For the Purposes of Defense," historian Gene A. Smith examines the politics and ideology of the fleet of small shallow-draft vessels commissioned by President Thomas Jefferson that dominated the United States Navy during the first two decades of the nineteenth century. Designed to maneuver and fight in coastal waters, the vessels had limited ability on the open seas. They were considered defensive rather than offensive craft and have become the focus of the white-water (coastal) - blue-water (seagoing) controversy as well as the navalist-antinavalist debate of the period. When examining the fleet, scholars have charged that Jefferson opposed the navy. He did not, although his most famous quote refers to "the ruinous folly of a navy." Instead, Jefferson was an economy-minded, astute politician who viewed the gunboats as part of a political-military policy rather than a naval program in itself. Gunboats were an economic and political alternative to the exorbitant costs of a blue-water navy. Their perceived initial costs would be small, and when not in use they could be hauled up and protected under cover, eliminating costly maintenance. Staffing them by a naval militia would further lessen their costs. Additionally, they were a defensive weapon that provided few opportunities for incidents at sea that might provoke war. They were also useful in revenue enforcement, suppressing piracy along the coastal frontier, checking the illegal slave trade and smuggling, as well as other nontraditional uses. Moreover, gunboat construction provided a unique political opportunity for the Jefferson administration. Gunboats could be built throughout the country, allowing the distribution of contracts beyond the regular centers of naval activity and to those areas supporting Republican politics. |
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Ergebnisse 1-5 von 51
Seite 7
... Theatrical Text 3. Put Your Discourse into Some Frame : Hamlet and the Uses of Wit 4. About , My Brains !: Hamlet's Soliloquies 69 91 Part III : Theatrical Expectations 5. Body , Actor , and Character in Hamlet 6. Issues of Culture and ...
... Theatrical Text 3. Put Your Discourse into Some Frame : Hamlet and the Uses of Wit 4. About , My Brains !: Hamlet's Soliloquies 69 91 Part III : Theatrical Expectations 5. Body , Actor , and Character in Hamlet 6. Issues of Culture and ...
Seite 13
... theatrical experimentation , and he responded to almost every aspect of that experimentation . Moreover , each major play in the canon has been subjected to the entire spectrum of theatrical innovations and ideological stances that have ...
... theatrical experimentation , and he responded to almost every aspect of that experimentation . Moreover , each major play in the canon has been subjected to the entire spectrum of theatrical innovations and ideological stances that have ...
Seite 15
... theatrical contract that governs relations among audience , performers , and text . Michael Goldman's approaches to drama keep us in touch with the relation of the dramatic text to theatrical theory and to the abstract potential of ...
... theatrical contract that governs relations among audience , performers , and text . Michael Goldman's approaches to drama keep us in touch with the relation of the dramatic text to theatrical theory and to the abstract potential of ...
Seite 17
... theatrical context for Hamlet . Why then this abstract context rather than one specifically Elizabethan , to reflect the play's originating culture , or specifically contemporary , to reflect our own ? I believe this abstraction is ...
... theatrical context for Hamlet . Why then this abstract context rather than one specifically Elizabethan , to reflect the play's originating culture , or specifically contemporary , to reflect our own ? I believe this abstraction is ...
Seite 18
... theatrical context . A phenomenology of perception links our observations about the body with what has been said about space , time , and language . The body is viewed as the source of gesture , a concept which includes language as ...
... theatrical context . A phenomenology of perception links our observations about the body with what has been said about space , time , and language . The body is viewed as the source of gesture , a concept which includes language as ...
Inhalt
13 | |
25 | |
27 | |
Taking Up the Past Hamlet and Time | 47 |
Theatrical Text | 67 |
Put Your Discourse into Some Frame Hamlet and the Uses of Wit | 69 |
About My Brains Hamlets Soliloquies | 91 |
Theatrical Expectations | 109 |
Body Actor and Character in Hamlet | 111 |
Issues of Culture and Genre | 131 |
Notes | 151 |
Works Cited | 163 |
Index | 169 |
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Häufige Begriffe und Wortgruppen
action actor Amleth antic disposition Atheist's Tragedy audience avenger awareness becomes behavior bodily body Bucknell University Calderwood character Claudius Claudius's closet scene comedy concern conscience consciousness contemplation context crime critical cultural death of Polonius defined Denmark dialogue discourse disruption distance dramatic text dreams Elam Elizabethan Elsinore emotional evoke examines expectations experience father feeling Fortinbras genre Geoffrey Hartman Gertrude Gertrude's gesture ghost graveyard Hamlet Hamlet's soliloquies Hamlet's wit Horatio human humor joke King King's Laertes language laughter madness means Merleau-Ponty Metadrama metaphor metatheatrical mimesis mother Mousetrap play murder myth mythic narrative norms observation Ophelia past perceived performance Phenomenology of Perception philosophical play's players plot Polonius presence Princeton protagonist psychological relationship Renaissance representation response revenge tragedy rhetorical role Rosencrantz and Guildenstern Ruth Thompson seems Semiotics sense sexual Shakespeare significant soliloquy speech stage space suggests textual theater theatrical theory tion University Press verbal words
Beliebte Passagen
Seite 78 - Why, look you now, how unworthy a thing you make of me ! You would play upon me ; you would seem to know my stops ; you would pluck out the heart of my mystery ; you would sound me from my lowest note to the top of my compass : and there is much music, excellent voice, in this little organ ; yet cannot you make it speak. 'Sblood, do you think I am easier to be played on than a pipe ? Call me what instrument you will, though you can fret me, you cannot play upon me.
Seite 65 - tis not to come ; if it be not to come, it will be now ; if it be not now, yet it will come : the readiness is all.
Seite 125 - Seems, madam ! nay, it is ; I know not 'seems.' 'Tis not alone my inky cloak, good mother, Nor customary suits of solemn black...
Seite 131 - The best actors in the world, either for tragedy, comedy, history, pastoral, pastoral-comical, historical-pastoral, tragical-historical, tragical-comical-historical-pastoral, scene individable, or poem unlimited : Seneca cannot be too heavy, nor Plautus too light. For the law of writ and the liberty, these are the only men.
Seite 57 - Angels and ministers of grace defend us! — Be thou a spirit of health or goblin damn'd, Bring with thee airs from heaven or blasts from hell, Be thy intents wicked or charitable, Thou comest in such a questionable shape That I will speak to thee: I'll call thee Hamlet, King, father; Royal Dane, O, answer me!
Seite 60 - No traveller returns, puzzles the will And makes us rather bear those ills we have Than fly to others that we know not of ? Thus conscience does make cowards of us all ; And thus the native hue of resolution Is sicklied o'er with the pale cast of thought, And enterprises of great pith and moment With this regard their currents turn awry, And lose the name of action.
Seite 126 - Pale as his shirt ; his knees knocking each other ; And with a look so piteous in purport, As if he had been loosed out of hell, To speak of horrors, — he comes before me.
Seite 134 - For he was likely, had he been put on, To have prov'd most royally : and, for his passage, The soldiers' music, and the rites of war, Speak loudly for him.
Seite 37 - My pulse, as yours, doth temperately keep time, And makes as healthful music : it is not madness That I have utter'd : bring me to the test, And I the matter will re-word ; which madness Would gambol from.