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. |
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Page i
... English Literary Renaissance , the Journal of Aesthetics and Art Criticism , Pretexts , Linguistic Sciences , Textus and the Journal of Literary Studies . SPEECH AND PERFORMANCE IN SHAKESPEARE'S SONNETS AND PLAYS DAVID SCHALKWYK Half-title.
... English Literary Renaissance , the Journal of Aesthetics and Art Criticism , Pretexts , Linguistic Sciences , Textus and the Journal of Literary Studies . SPEECH AND PERFORMANCE IN SHAKESPEARE'S SONNETS AND PLAYS DAVID SCHALKWYK Half-title.
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... criticism throughout the project . Lars got me to take the sonnets seriously ; Heather enabled me to pursue that seri- ousness in the ideal collegial environment of the Humanities Institute in Madison . Both have been exceptionally ...
... criticism throughout the project . Lars got me to take the sonnets seriously ; Heather enabled me to pursue that seri- ousness in the ideal collegial environment of the Humanities Institute in Madison . Both have been exceptionally ...
Page 1
... criticism and the- ory in the 1970s and 1980s , but has lately received less attention in the era of high historicism.2 Austin's status within literary theory never recovered This is not to claim that there were no other dramatists who ...
... criticism and the- ory in the 1970s and 1980s , but has lately received less attention in the era of high historicism.2 Austin's status within literary theory never recovered This is not to claim that there were no other dramatists who ...
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... criticism into ' formalist ' analysis of language on the one hand , and ' historicist ' or ' materialist ' interest in culture and politics on the other , Magnusson shows that we need a philosophical framework that is alive to the ...
... criticism into ' formalist ' analysis of language on the one hand , and ' historicist ' or ' materialist ' interest in culture and politics on the other , Magnusson shows that we need a philosophical framework that is alive to the ...
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... Criticism , 3 ( 1953 ) , 152–64 ( 161 ) ; Giorgio Melchiori , Shakespeare's Dramatic Meditations : An Experiment in Criticism ( Oxford : Clarendon Press , 1976 ) , 15. See also , Anton M. Pirkhoffer , ' The Beauty of Truth : The ...
... Criticism , 3 ( 1953 ) , 152–64 ( 161 ) ; Giorgio Melchiori , Shakespeare's Dramatic Meditations : An Experiment in Criticism ( Oxford : Clarendon Press , 1976 ) , 15. See also , Anton M. Pirkhoffer , ' The Beauty of Truth : The ...
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