Reclamations of ShakespeareA. J. Hoenselaars |
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Page 8
... performance conditions are of an ephemeral kind , and these are especially prone to generate myth and mystery . This ... performance is a fiction anyway . If editors agree to differ over textual cruxes , how is a theatre audience to come ...
... performance conditions are of an ephemeral kind , and these are especially prone to generate myth and mystery . This ... performance is a fiction anyway . If editors agree to differ over textual cruxes , how is a theatre audience to come ...
Page 11
... performance artist , not a writer . All kinds of different approaches to " the text " get into trouble when they face performance , because performance gives priority to a particular kind of reading . That raises the question of whose ...
... performance artist , not a writer . All kinds of different approaches to " the text " get into trouble when they face performance , because performance gives priority to a particular kind of reading . That raises the question of whose ...
Page 12
... performance text over the written text is now being asserted . The problem with that , of course , quite apart from all the critical issues it raises , is how much of a performance text can be retrieved . There are some obvious aids ...
... performance text over the written text is now being asserted . The problem with that , of course , quite apart from all the critical issues it raises , is how much of a performance text can be retrieved . There are some obvious aids ...
Page 13
... performance , he presumably felt no need to insert many reminders of the more visual of his requirements in his texts . Why he was so unhelpful is unclear . Thomas Heywood , whose writing career as a player and contracted playwright was ...
... performance , he presumably felt no need to insert many reminders of the more visual of his requirements in his texts . Why he was so unhelpful is unclear . Thomas Heywood , whose writing career as a player and contracted playwright was ...
Page 14
... performance , or whether they were brought on to indicate the locality of a particular scene and taken off again at its end . Over the possibility of thrones staying put throughout the play I cited the anomalous evidence of the stage ...
... performance , or whether they were brought on to indicate the locality of a particular scene and taken off again at its end . Over the possibility of thrones staying put throughout the play I cited the anomalous evidence of the stage ...
Contents
7 | |
21 | |
57 | |
The Rape of Lucrece and the Story of W | 75 |
Hearsay Soothsay | 105 |
Gender and Genre in Shakespeares Tragicomedies | 129 |
The Poet Laureates National Poet | 159 |
Myth Memory and Music | 173 |
Music as Meaning in The Tempest | 187 |
Another Look at | 201 |
Mapping Shakespeares Europe | 223 |
Every Word in Shakespeare | 273 |
Notes on Contributors | 303 |
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Common terms and phrases
A-Level actor All's allegorical Anthony Burgess Antony and Cleopatra Antony's Arden Edition audience Burgess Caesar century character comedy Cordelia critics cultural Cymbeline drama dramatists Dutch Elizabethan English fact female fiction figure film Fineman Folio Fool function Ganymede gender Hamlet harmony Henry Hercules hierarchy Hughes Hughes's interpretation intertextuality John Jonson Juliet Katherina King Lear Laforgue Laforgue's Hamlet language Lear's Leo Belgicus lines literary Literature London Love's Labour's Lost Lucrece's Lucretia Macbeth means Measure for Measure memory messenger metaphor Midsummer Night's Dream myth mythical narrator original Orlando performance play's poem poet political production Rape of Lucrece reading reality references Renaissance representation rhetoric romance Rosalind scene seems semblance semiotic sense Shake Shakespeare Shakespeare's plays Shrew Sir Herbert speare's speech stage direction story Tarquin Tempest textual theatre theatrical theory thou traditional tragedy tragicomedies Tree's visual voice Winter's Tale words writing
Popular passages
Page 235 - I tell you, captain, — if you look in the maps of the "orld, I warrant you shall find, in the comparisons between Macedon and Monmouth, that the situations, look you, is both alike. There is a river in Macedon ; and there is also moreover a river at Monmouth...
Page 214 - Not to a rage. Patience and sorrow strove Who should express her goodliest. You have seen Sunshine and rain at once: her smiles and tears Were like, a better way.
Page 74 - His legs bestrid the ocean : his rear'd arm Crested the world : his voice was propertied As all the tuned spheres, and that to friends ; But when he meant to quail and shake the orb, He was as rattling thunder. For his bounty, There...
Page 103 - If the object becomes allegorical under the gaze of melancholy, if melancholy causes life to flow out of it and it remains behind dead, but eternally secure, then it is exposed to the allegorist, it is unconditionally in his power. That is to say it is now quite incapable of emanating any meaning or significance of its own; such significance as it has, it acquires from the allegorist.
Page 221 - From Paris next, coasting the realm of France, We saw the river Maine fall into Rhine, Whose banks are set with groves of fruitful vines; Then up to Naples, rich Campania, Whose buildings fair and gorgeous to the eye, The streets straight forth, and paved with finest brick; Quarter the town in four equivalents. There saw we learned Maro's...
Page 176 - Remember thee? Yea, from the table of my memory I'll wipe away all trivial fond records, All saws of books, all forms, all pressures past That youth and observation copied there, And thy commandment all alone shall live Within the book and volume of my brain, Unmixed with baser matter.
Page 206 - If you would have your kennell for sweetnesse of cry, then you must compound it of some large dogges, that have deepe solemne mouthes, and are swift in spending, which must, as it were, beare the base in the consort, then a double number of roaring, and loud ringing mouthes, which must beare the counter tenour, then some hollow, plaine, sweete mouthes, which must beare the meane or middle part ; and soe with these three parts of musicke you shall make your cry perfect.
Page 50 - The poet never maketh any circles about your imagination, to conjure you to believe for true what he writes.
References to this book
Shakespeare, Reception and Translation: Germany and Japan Friedrike Von Schwerin-High No preview available - 2004 |