Foreign Accents: Brazilian Readings of Shakespeare'Foregin Accents' is formed of two parts: the first one offers analyses of translations/interpretations/appropriations of plays and sonnets in different processes of transmutation. The second comprises texts that deal with more general critical readings. Shakespeare is viewed in the light of gender studies, of postmodernism, and of comparative studies. |
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Inhalt
| 11 | |
III | 42 |
IV | 55 |
V | 62 |
VI | 76 |
VII | 100 |
VIII | 114 |
IX | 126 |
XI | 154 |
XII | 174 |
XIII | 183 |
XIV | 198 |
XV | 207 |
XVI | 223 |
XVII | 227 |
X | 138 |
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actors American appear appropriation artist associated audience becomes beginning believe Brazil Brazilian Caliban calls characters colonial comes considered contemporary created critical cultural dark death directions discussion drama effect Elizabethan English essay European expression fact final freedom give Godard Guil Hamlet hand Henry human idea José Kate kind King Lady language Latin Lear lines literary literature living Macbeth Machado de Assis meaning Metafictional murder nature original Paulo performance play Player playwright political position possible present Press production Prospero published Queen question reading reference remains representing Rio de Janeiro says scene seems seen sense Shake Shakespeare slave social Sonnet space speak speech stage story suggests tells Tempest theater things tion tradition tragedy translation turned University values writer
Beliebte Passagen
Seite 184 - it to you—trippingly on the tongue; but if you mouth it, as many of your players do, I had as lief the town—crier had spoke my lines. Nor do not saw the air too much with your hand thus, but use all gently; for in the very torrent, tempest, and as I may say the
Seite 119 - What beast was't then That made you break this enterprise to me? When you durst do it, then you were a man; And to be more than what you were, you Would be so much more the man. Nor time nor place Did
Seite 175 - All things in common nature should produce Without sweat or endeavour. Treason, felony, Sword, pike, knife, gun, or need of any engine, Would I not have; but nature should bring forth Of its own kind all foison, all abundance, To feed my innocent people.
Seite 184 - Hamlet: But come, Here as before, never, so help you mercy, How strange or odd soe'er I bear myself— As I perchance hereafter shall think meet To put an antic disposition on— That you at such time seeing me never shall, With arms encumber'd thus, or this head-shake
Seite 118 - Stop up th'access and passage to remorse, That no compunctious visitings of nature Shake my fell purpose, nor keep peace between The effect and it. Come to my woman's breasts, Wherever in your sightless substances You wait on nature's mischief.
Seite 174 - No poet, no artist of any sort, has his complete meaning alone. His Significance, his appreciation is the appreciation of his relation to the dead poets and artists. You cannot value him alone. You must set him, for contrast and comparison, among the dead. —TS Eliot
Seite 130 - Then God be blessed, it is the blessed sun, But sun it is not, when you say it is not; And the moon changes even as your mind. What you will have it nam'd, even that it is, And so it shall be still for Katherine.
Seite 115 - all great Neptune's ocean wash this blood Clean from my hand? No. This my hand will rather The multitudinous seas incarnadine, Making the green one red.
Bibliografische Informationen
| Titel | Foreign Accents: Brazilian Readings of Shakespeare International studies in Shakespeare and his contemporaries |
| Herausgeber | Aimara da Cunha Resende, Thomas LaBorie Burns |
| Ausgabe | illustriert |
| Verlag | University of Delaware Press, 2002 |
| ISBN | 0874137535, 9780874137538 |
| Länge | 230 Seiten |
| Zitat exportieren | BiBTeX EndNote RefMan |