Making Sense of ShakespeareFairleigh Dickinson Univ Press, 1999 - 210 pages This study undertakes to bring Shakespearean scholars and students alive to reading the plays and poetry with a much higher engagement of physical sense, body, and sense imagination than that to which we are usually accustomed. It builds upon a broadly based investigation of scientific literature concerning bodily perceptions and responses. Making Sense of Shakespeare also demonstrates its approach to reading and provides practical suggestions for students and teachers in pursuing sense reading. |
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Page 12
... characters . Such emotions , for these early critics as well as for their nineteenth - century counterparts — Edward Dowden , A. C. Bradley , and others were widely subordinated , however , to character analysis and to moral teachings ...
... characters . Such emotions , for these early critics as well as for their nineteenth - century counterparts — Edward Dowden , A. C. Bradley , and others were widely subordinated , however , to character analysis and to moral teachings ...
Page 13
Charles H. Frey. tion of characters , and in how Shakespeare's texts " invade us and invite us to make . . . a sympathetic act of closure with them- selves . " 10 Views of emotion implicit in such criticism generally fail to place the ...
Charles H. Frey. tion of characters , and in how Shakespeare's texts " invade us and invite us to make . . . a sympathetic act of closure with them- selves . " 10 Views of emotion implicit in such criticism generally fail to place the ...
Page 16
... characters such as Lear , then I recognize as well my duty to attend carefully to such sounds . Though I've said almost nothing here about effects in the passage produced by Shakespeare's metrical art , repeated 16 PREFACE.
... characters such as Lear , then I recognize as well my duty to attend carefully to such sounds . Though I've said almost nothing here about effects in the passage produced by Shakespeare's metrical art , repeated 16 PREFACE.
Page 21
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Contents
9 | |
Note on Shakespeares Text | 19 |
Abstract and Concrete Senses in Shakespeare | 21 |
SenseReading Shakespeares Sounds | 41 |
SenseReading Shakespeares Nonvisual Images | 51 |
Resistance to Shakespearean SenseReading | 60 |
Further Contexts of Resistance to Shakespearean SenseReading | 76 |
Working Beyond Resistance | 105 |
Undermind Shakespeare SenseReading as SelfShaping and PlayShaping | 117 |
Practice | 127 |
SenseReading in the Classroom | 148 |
Conclusion Walking Westward | 164 |
Notes | 168 |
Works Cited | 187 |
Index | 203 |
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Common terms and phrases
abstract aesthetic experience affect Angelo Arnold Mindell arousal attention audience behavior bodily body breath Chicago classroom cognition concrete cultural David Bleich disgust drama Dreambody embodied emotion empathy enact energy engagement Essays explore expression facial fear feel gesture Hamlet hear heart Hippolyta Homo Aestheticus howl iconoclasm imagery images imagination interoception interpretation kinesthetic Lear literary literature Louise Rosenblatt Macbeth meaning ments meter Midsummer Night's Dream mind muscles Music Night's Dream nonverbal nonvisual one's perception performance persons physical physiological play poetry posture proprioceptive Psychology reader-response criticism readers reading aloud reading Shakespeare Renaissance resistance to sense-reading response rhythms Richard Schechner Ritual Romeo and Juliet Routledge scene sensations sense of Shakespeare sense-reading sensory sensuous sexual Shake Shakespeare social somatic somatic responses sounds speare speare's speech sponse suggest teachers teaching thee Theory Theseus thou tion University Press verbal verse visceral visual Witch words York and London
Popular passages
Page 107 - First Witch. When shall we three meet again In thunder, lightning, or in rain?
Page 135 - Let me not to the marriage of true minds Admit impediments. Love is not love Which alters when it alteration finds, Or bends with the remover to remove: O, no! it is an ever-fixed mark, That looks on tempests, and is never shaken, It is the star to every wandering bark, Whose worth's unknown, although his height be taken.
Page 127 - Shall I compare thee to a summer's day? Thou art more lovely and more temperate: Rough winds do shake the darling buds of May, And summer's lease hath all too short a date...
Page 58 - Why should a dog, a horse, a rat, have life, And thou no breath at all ? Thou 'It come no more, Never, never, never, never, never!
Page 28 - O Romeo, Romeo! wherefore art thou Romeo? Deny thy father, and refuse thy name; Or, if thou wilt not, be but sworn my love, And I'll no longer be a Capulet.
Page 46 - Fear no more the frown o' the great; Thou art past the tyrant's stroke; Care no more to clothe and eat; To thee the reed is as the oak. The sceptre, learning, physic, must All follow this, and come to dust.
Page 28 - What's Montague? it is nor hand, nor foot, Nor arm, nor face, nor any other part Belonging to a man. O, be some other name! What's in a name? that which we call a rose By any other name would smell as sweet; So Romeo would, were he not Romeo call'd, Retain that dear perfection which he owes Without that title.
Page 28 - Tis but thy name that is my enemy; Thou art thyself, though not a Montague. What's Montague? it is nor hand, nor foot, Nor arm, nor face, nor any other part Belonging to a man.
Page 96 - O thou weed, Who art so lovely fair and smell'st so sweet That the sense aches at thee, would thou hadst ne'er been born ! Des. Alas, what ignorant sin have I committed ? Oth. Was this fair paper, this most goodly book, Made to write
Page 107 - Fair is foul, and foul is fair: Hover through the fog and filthy air.