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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Results 1-5 of 17
Page 5
... lyrics complicated by reading them through the historical embodi- ment of sonnets in theatrical representations ? C. L. ... lyric speaker or isolated reader : it arises out of the triangular relationship of addresser , addressee and the ...
... lyrics complicated by reading them through the historical embodi- ment of sonnets in theatrical representations ? C. L. ... lyric speaker or isolated reader : it arises out of the triangular relationship of addresser , addressee and the ...
Page 6
... lyric , are inescapable on the stage . In chapter 2 I ask what happens to our reading of the sonnets when we take such embodiment seriously as the very condition , not only of the theatre , but also of the sonnet's address . To ask such ...
... lyric , are inescapable on the stage . In chapter 2 I ask what happens to our reading of the sonnets when we take such embodiment seriously as the very condition , not only of the theatre , but also of the sonnet's address . To ask such ...
Page 13
... lyric is intrinsically asocial : Contemporary emphasis on the participation of literature in a social matrix balks at acknowledging how lyric , though it may refer to the social , remains the genre that directs its mimesis toward the ...
... lyric is intrinsically asocial : Contemporary emphasis on the participation of literature in a social matrix balks at acknowledging how lyric , though it may refer to the social , remains the genre that directs its mimesis toward the ...
Page 14
... lyric poetry . Taken as a strictly phenomenological project , Vendler's reduction of the ' voice ' of the lyric by stripping away all the empirical qualities of its historical moment makes sense . If the ' voice ' with which each reader ...
... lyric poetry . Taken as a strictly phenomenological project , Vendler's reduction of the ' voice ' of the lyric by stripping away all the empirical qualities of its historical moment makes sense . If the ' voice ' with which each reader ...
Page 15
... lyric . To see the lan- guage of the sonnets as ' situationally motivated speech - acts ' ( Vendler , The Art of Shakespeare's Sonnets , 492 ) – forms of linguistic action , performa- tive or illocutionary force – rather than merely a ...
... lyric . To see the lan- guage of the sonnets as ' situationally motivated speech - acts ' ( Vendler , The Art of Shakespeare's Sonnets , 492 ) – forms of linguistic action , performa- tive or illocutionary force – rather than merely a ...
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