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
... speech acts intelligible and make possible the language of interiority . Such contexts of embodiment and address , often obscured in the case of the lyric , are inescapable on the stage . In chapter 2 I ask what happens to our reading ...
... speech acts intelligible and make possible the language of interiority . Such contexts of embodiment and address , often obscured in the case of the lyric , are inescapable on the stage . In chapter 2 I ask what happens to our reading ...
Page 7
... speech acts . In developing my argu- ment I use as my foil the critical text that has had an unsurpassed impact in the field : Joel Fineman's Shakespeare's Perjured Eye : The Invention of Poetic Subjectivity in the Sonnets.14 Channelled ...
... speech acts . In developing my argu- ment I use as my foil the critical text that has had an unsurpassed impact in the field : Joel Fineman's Shakespeare's Perjured Eye : The Invention of Poetic Subjectivity in the Sonnets.14 Channelled ...
Page 9
... speech acts that are not primarily descriptions . Although not as blatant as sonnet 130 , this poem is as much a parody of hyperbolic description , and its place within a cluster of poems centrally concerned with imaginative projection ...
... speech acts that are not primarily descriptions . Although not as blatant as sonnet 130 , this poem is as much a parody of hyperbolic description , and its place within a cluster of poems centrally concerned with imaginative projection ...
Page 10
... speech acts . But the pre - eminence of rhetoric in the early modern period also shows that language was principally appreciated as a force working in the world rather than as a ( always - already failed ) reflection of it . Thomas ...
... speech acts . But the pre - eminence of rhetoric in the early modern period also shows that language was principally appreciated as a force working in the world rather than as a ( always - already failed ) reflection of it . Thomas ...
Page 11
... speech that actually constitutes their lives , rather than the arcane archetypes of philosophical enquiry . Austin ... speech acts . 20 Parker , ' Verbal Moods in Shakespeare's Sonnets ' , 331-9 . 21 Stephen Greenblatt , Introduction ...
... speech that actually constitutes their lives , rather than the arcane archetypes of philosophical enquiry . Austin ... speech acts . 20 Parker , ' Verbal Moods in Shakespeare's Sonnets ' , 331-9 . 21 Stephen Greenblatt , Introduction ...
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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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