Shakespeare and the Idea of the BookOUP Oxford, 29 de mar. de 2007 - 224 páginas The 'book' - both material and metaphoric - is strewn throughout Shakespeare's plays: it is held by Hamlet as he turns through revenge to madness; buried deep in the mudded ooze by Prospero when he has shaken out his art like music and violence; it is forced by Richard II to withstand the mortality of deposition, fetishised by lovers, tormented by pedagogues, lost by kings, written by the alienated, and hung about war with the blood of lost voices. The 'book' begins and ends Shakespeare's dramatic career as change itself, standing the distance between violence and hope, between holding and losing. Shakespeare and the Idea of the Book is about the book in Shakespeare's plays. Focusing on seven plays, not only for the chronology and range they present, but also for their particular relationship to the book - whether it is political or humanist, cognitive or illusory, satirical or sexual, spiritual or secular, social or subjective - Scott argues that the book on stage, its literal and semantic presence, offers one of the most articulate and developed hermeneutic tools available for the study of early modern English culture. |
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Página 4
... presence, and the individual body, testing its subjective wit against consensual impressions. Shakespeare draws his books from this grand arena, and sets them as 'furniture' or 'local motions' upon his stage. Yet outside the figurative ...
... presence, and the individual body, testing its subjective wit against consensual impressions. Shakespeare draws his books from this grand arena, and sets them as 'furniture' or 'local motions' upon his stage. Yet outside the figurative ...
Página 10
... presence, to be read or rejected, accepted, or undermined. The relationship between the actor and the book is dependent, like that of Juliet and Paris, upon the dialectic between reader and read, where the reader/audience may 'spell ...
... presence, to be read or rejected, accepted, or undermined. The relationship between the actor and the book is dependent, like that of Juliet and Paris, upon the dialectic between reader and read, where the reader/audience may 'spell ...
Página 11
... presence of the book asks us to consider the nature of the prop, the symbolic space occupied by the object, and the physical relationship between the actor, his stage, and the volume, it also asks us to notice what sort of book we see ...
... presence of the book asks us to consider the nature of the prop, the symbolic space occupied by the object, and the physical relationship between the actor, his stage, and the volume, it also asks us to notice what sort of book we see ...
Página 18
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Conteúdo
1 | |
The Book in Performance in Titus Andronicus and Cymbeline | 26 |
Teaching Perversion and Subversion in The Taming of the Shrew and Loves Laboursx Lost | 57 |
Word Image and the Reformation of the Self in Richard II | 102 |
Forgetting and Remembering in Hamlet | 130 |
The Tempest and the Book of Illusions | 157 |
We turnd oer many books together | 187 |
Bibliography | 195 |
Index | 213 |
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Termos e frases comuns
action appears authority becomes begins Bianca Bible body Caliban Cambridge central characters claims contain context cultural desire Despite developing direct discourse dream effect Elizabethan emerge experience explains explore expose expression faith figurative Hamlet hand heart heaven human icon idea imagination important king knowledge language Lavinia learning lines living London looks Love’s lovers Lucentio mark material meaning memory metaphorical mind mirror move narrative nature object observation offer on-stage Ovid particular performance physical play potential presence Press printed Prospero provides reader reading reality recognize references reflection rejection relationship represent representation response rhetoric Richard role scene seems sense Shakespeare’s signifies silence social soul space stage story suggests symbolic takes Tempest textual theatre things thought Titus translation truth turns understanding University Press visual Whilst women writing written