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 6
... speaking position and its place in a wider social context ; but it does not reduce the one to the other . ' Insofar as they are the centre of their own lives , ' Berthoud remarks , ' individuals belong to themselves ; but insofar as ...
... speaking position and its place in a wider social context ; but it does not reduce the one to the other . ' Insofar as they are the centre of their own lives , ' Berthoud remarks , ' individuals belong to themselves ; but insofar as ...
Page 7
... speak about ' ( 15 ) . The self - reflexive recognition of this on- tological disjunction constitutes the decisively modern poetic subjectivity that Fineman attributes to Shakespeare's sonnets . They invent a mod- ern subjectivity by ...
... speak about ' ( 15 ) . The self - reflexive recognition of this on- tological disjunction constitutes the decisively modern poetic subjectivity that Fineman attributes to Shakespeare's sonnets . They invent a mod- ern subjectivity by ...
Page 10
... speak of offering images , of drawing pictures , of making the beloved live on in their own ' black lines ' . But to speak of pictures is not to draw them , to use the word ' images ' , even repeatedly , is not to present one . The ...
... speak of offering images , of drawing pictures , of making the beloved live on in their own ' black lines ' . But to speak of pictures is not to draw them , to use the word ' images ' , even repeatedly , is not to present one . The ...
Page 30
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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