Reclamations of ShakespeareA. J. Hoenselaars Rodopi, 1994 - 317 Seiten |
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Seite 11
... turn . We have zoomed in so closely to the wonderful words on the page that we are now chronically coerced into thinking of the plays chiefly as the written words , even as texts that were originally conceived and generated for that ...
... turn . We have zoomed in so closely to the wonderful words on the page that we are now chronically coerced into thinking of the plays chiefly as the written words , even as texts that were originally conceived and generated for that ...
Seite 16
... turns up in a hunting hat for his second scene , and in the storm in Act 3 he goes bareheaded ( " unbonneted he runs " , says the gentleman , reacting in horror at such behaviour , not just in a storm and tempest but in Elizabethan ...
... turns up in a hunting hat for his second scene , and in the storm in Act 3 he goes bareheaded ( " unbonneted he runs " , says the gentleman , reacting in horror at such behaviour , not just in a storm and tempest but in Elizabethan ...
Seite 35
... turning the traditional emblematic significances of the deer and the deer hunt , used in romance and drama , upside down . The deer and the deer hunt could refer to love and passion : Actaeon was torn to pieces . The deer could also be ...
... turning the traditional emblematic significances of the deer and the deer hunt , used in romance and drama , upside down . The deer and the deer hunt could refer to love and passion : Actaeon was torn to pieces . The deer could also be ...
Seite 38
... turn the world of reality up- side down , but it can also include reality's serious and reasoned fictive 12 The joke would , of course , only have worked in a performance by the Chamber- lain's Men , not by the Paul's Boys . 13 14 ...
... turn the world of reality up- side down , but it can also include reality's serious and reasoned fictive 12 The joke would , of course , only have worked in a performance by the Chamber- lain's Men , not by the Paul's Boys . 13 14 ...
Seite 45
... turns an object , a boy actor , into what it is not , a female character , which is next sexually transformed into a male character by restoring its natural possession . This type of complex mingling of elements of social gender ...
... turns an object , a boy actor , into what it is not , a female character , which is next sexually transformed into a male character by restoring its natural possession . This type of complex mingling of elements of social gender ...
Inhalt
7 | |
21 | |
57 | |
The Rape of Lucrece and the Story of W | 75 |
Hearsay Soothsay | 105 |
Gender and Genre in Shakespeares Tragicomedies | 129 |
The Poet Laureates National Poet | 159 |
Myth Memory and Music | 173 |
Music as Meaning in The Tempest | 187 |
Another Look at | 201 |
Mapping Shakespeares Europe | 223 |
Every Word in Shakespeare | 273 |
Notes on Contributors | 303 |
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Häufige Begriffe und Wortgruppen
A-Level actor All's allegorical Anthony Burgess Antony and Cleopatra Antony's Arden Edition audience Burgess Caesar century character comedy Cordelia critics cultural Cymbeline drama dramatists Dutch Elizabethan English fact female fiction figure film Fineman Folio Fool function Ganymede gender Hamlet harmony Henry Hercules hierarchy Hughes Hughes's interpretation intertextuality John Jonson Juliet Katherina King Lear Laforgue Laforgue's Hamlet language Lear's Leo Belgicus lines literary Literature London Love's Labour's Lost Lucrece's Lucretia Macbeth means Measure for Measure memory messenger metaphor Midsummer Night's Dream myth mythical narrator original Orlando performance play's poem poet political production Rape of Lucrece reading reality references Renaissance representation rhetoric romance Rosalind scene seems semblance semiotic sense Shake Shakespeare Shakespeare's plays Shrew Sir Herbert speare's speech stage direction story Tarquin Tempest textual theatre theatrical theory thou traditional tragedy tragicomedies Tree's visual voice Winter's Tale words writing
Beliebte Passagen
Seite 235 - I tell you, captain, — if you look in the maps of the "orld, I warrant you shall find, in the comparisons between Macedon and Monmouth, that the situations, look you, is both alike. There is a river in Macedon ; and there is also moreover a river at Monmouth...
Seite 214 - Not to a rage. Patience and sorrow strove Who should express her goodliest. You have seen Sunshine and rain at once: her smiles and tears Were like, a better way.
Seite 74 - His legs bestrid the ocean : his rear'd arm Crested the world : his voice was propertied As all the tuned spheres, and that to friends ; But when he meant to quail and shake the orb, He was as rattling thunder. For his bounty, There...
Seite 103 - If the object becomes allegorical under the gaze of melancholy, if melancholy causes life to flow out of it and it remains behind dead, but eternally secure, then it is exposed to the allegorist, it is unconditionally in his power. That is to say it is now quite incapable of emanating any meaning or significance of its own; such significance as it has, it acquires from the allegorist.
Seite 221 - From Paris next, coasting the realm of France, We saw the river Maine fall into Rhine, Whose banks are set with groves of fruitful vines; Then up to Naples, rich Campania, Whose buildings fair and gorgeous to the eye, The streets straight forth, and paved with finest brick; Quarter the town in four equivalents. There saw we learned Maro's...
Seite 176 - Remember thee? Yea, from the table of my memory I'll wipe away all trivial fond records, All saws of books, all forms, all pressures past That youth and observation copied there, And thy commandment all alone shall live Within the book and volume of my brain, Unmixed with baser matter.
Seite 206 - If you would have your kennell for sweetnesse of cry, then you must compound it of some large dogges, that have deepe solemne mouthes, and are swift in spending, which must, as it were, beare the base in the consort, then a double number of roaring, and loud ringing mouthes, which must beare the counter tenour, then some hollow, plaine, sweete mouthes, which must beare the meane or middle part ; and soe with these three parts of musicke you shall make your cry perfect.
Seite 50 - The poet never maketh any circles about your imagination, to conjure you to believe for true what he writes.
Verweise auf dieses Buch
Shakespeare, Reception and Translation: Germany and Japan Friedrike Von Schwerin-High Keine Leseprobe verfügbar - 2004 |