Speech and Performance in Shakespeare's Sonnets and PlaysDavid Schalkwyk offers a sustained reading of Shakespeare's sonnets in relation to his plays. He argues that the language of the sonnets is primarily performative rather than descriptive, and bases this distinction on the philosophy of Ludwig Wittgenstein and J. L. Austin. In a wide-ranging analysis of both the 1609 Quarto of Shakespeare's sonnets and the Petrarchan discourses in a selection of plays, Schalkwyk addresses such issues as embodiment and silencing, interiority and theatricality, inequalities of power, status, gender and desire, both in the published poems and on the stage and in the context of the early modern period. In a provocative discussion of the question of proper names and naming events in the sonnets and plays, the book seeks to reopen the question of the autobiographical nature of Shakespeare's sonnets. |
From inside the book
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Page ix
... London : Yale University Press , 1978 ) . Quotations from the plays are from The Oxford Shakespeare , ed . Stanley Wells and Gary Taylor ( Oxford : Oxford University Press , 1987 ) . Introduction : the sonnets Why are there proper names ...
... London : Yale University Press , 1978 ) . Quotations from the plays are from The Oxford Shakespeare , ed . Stanley Wells and Gary Taylor ( Oxford : Oxford University Press , 1987 ) . Introduction : the sonnets Why are there proper names ...
Page 4
... London : Cornell University Press , 1987 ) , 212 ) ; their novel construction of poetic subjectivity ( Joel Fineman , Shakespeare's Perjured Eye : The Invention of Poetic Subjectivity in the Sonnets ( Berkeley , Los Angeles and London ...
... London : Cornell University Press , 1987 ) , 212 ) ; their novel construction of poetic subjectivity ( Joel Fineman , Shakespeare's Perjured Eye : The Invention of Poetic Subjectivity in the Sonnets ( Berkeley , Los Angeles and London ...
Page 10
... ( London : 1589 ) , Scholar Press Facsimile ( Menston , England : The Scholar Press , 1968 ) , c iiij . when he reads the sonnets as examples of a particularly ΙΟ Speech and performance in Shakespeare's sonnets and plays.
... ( London : 1589 ) , Scholar Press Facsimile ( Menston , England : The Scholar Press , 1968 ) , c iiij . when he reads the sonnets as examples of a particularly ΙΟ Speech and performance in Shakespeare's sonnets and plays.
Page 11
... Stephen Greenblatt , Walter Cohen , Jean E. Howard and Katherine Eisaman Maus ( London and New York : W. W. Norton , 1997 ) , 865 . Many of Shakespeare's sonnets to the young man attempt to Introduction : the sonnets II.
... Stephen Greenblatt , Walter Cohen , Jean E. Howard and Katherine Eisaman Maus ( London and New York : W. W. Norton , 1997 ) , 865 . Many of Shakespeare's sonnets to the young man attempt to Introduction : the sonnets II.
Page 12
... English Petrarchism and its Counterdiscourses ( Ithaca , NY and London : Cornell University Press , 1995 ) , 10 . They do so by deliberately exploiting the formal ambiguities of 12 Speech and performance in Shakespeare's sonnets and plays.
... English Petrarchism and its Counterdiscourses ( Ithaca , NY and London : Cornell University Press , 1995 ) , 10 . They do so by deliberately exploiting the formal ambiguities of 12 Speech and performance in Shakespeare's sonnets and plays.
Contents
1 | |
the sonnets Antony and Cleopatra and As You Like It | 29 |
the sonnets Loves Labours Lost Romeo and Juliet and Twelfth Night | 59 |
the sonnets Hamlet and King Lear | 102 |
the sonnets Romeo and Juliet Troilus and Cressida and Othello | 150 |
the sonnets and Alls Well that Ends Well | 198 |
Conclusion | 238 |
Bibliography | 243 |
Index | 253 |
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Common terms and phrases
All's anti-theatrical Antony and Cleopatra argues argument audience beauty beloved beloved's Bertram Cambridge character claims concepts context criticism dark lady dark woman declaration Desdemona desire discourse doth early modern embodied enacts erotic Essays eyes fact fair fictional Fineman force Hamlet heart Helen historical Iago ideological illocutionary illocutionary acts interaction interiority inwardness King language games literary logical London loue Love's Labour's Lost lover lyric meaning merely metaphysical mutual Olivia Orsino Othello paradigm paradox performative perlocutionary Petrarchan play player player-poet poem poet poetic poetry political proper name Quarto reciprocity recognise relations relationship render representation rhetorical rigid designation Romeo and Juliet scene self-authorising sense sexual Shakespeare's sonnets silence sonnet 23 sonnet 44 speak speech acts stage theatre theatrical thee thing thou transform Troilus and Cressida truth Twelfth Night University Press Vendler Viola voice vows Wittgenstein women words young