Reclamations of ShakespeareA. J. Hoenselaars Rodopi, 1994 - 317 Seiten |
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Seite 7
... writing , of silent rhetoric . C. C. Barfoot's reading of Antony and Cleopatra confirms that Shakespeare's insight ... writers to complete the story in their own image . Once facts were lacking and so - called poetic license ...
... writing , of silent rhetoric . C. C. Barfoot's reading of Antony and Cleopatra confirms that Shakespeare's insight ... writers to complete the story in their own image . Once facts were lacking and so - called poetic license ...
Seite 11
... writer . All kinds of different approaches to " the text " get into trouble when they face performance , because performance gives priority to a particular kind of reading . That raises the question of whose authority you can appeal to ...
... writer . All kinds of different approaches to " the text " get into trouble when they face performance , because performance gives priority to a particular kind of reading . That raises the question of whose authority you can appeal to ...
Seite 13
... writing career as a player and contracted playwright was closest to Shakespeare's both in time and contractual terms , was far more scrupulously detailed with his in- structions to his players . Ben Jonson was notoriously specific ...
... writing career as a player and contracted playwright was closest to Shakespeare's both in time and contractual terms , was far more scrupulously detailed with his in- structions to his players . Ben Jonson was notoriously specific ...
Seite 23
... writing his Shadow of Night , he no doubt heard of the tragic death of Marlowe in a tavern brawl on 30 May 1593. In the light of Marlowe's stay at Flushing , I would like to recall the fact that the poet's translation of Ovid's Elegies ...
... writing his Shadow of Night , he no doubt heard of the tragic death of Marlowe in a tavern brawl on 30 May 1593. In the light of Marlowe's stay at Flushing , I would like to recall the fact that the poet's translation of Ovid's Elegies ...
Seite 33
... writing sensational but short - run produc- tions , it suited Shakespeare economically to follow current trends in his plays and to grant them some durability . This would reduce the pressure to create new plays , and still bring in ...
... writing sensational but short - run produc- tions , it suited Shakespeare economically to follow current trends in his plays and to grant them some durability . This would reduce the pressure to create new plays , and still bring in ...
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 death drama dramatists Dutch Elizabethan English fact female fiction figure film Fineman Folio Fool 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 |