Reclamations of ShakespeareA. J. Hoenselaars Rodopi, 1994 - 317 pages |
From inside the book
Results 1-5 of 42
Page 5
... Actor in As You Like It HENK GRAS Shakespeare and the Myth of Hercules M. T. JONES - DAVIES 11 7 : 21 17 33 33 57 The Rape of Lucrece and the Story of W MIEKE BAL 75 News from the Roman Empire : Hearsay , Soothsay , Myth and History in ...
... Actor in As You Like It HENK GRAS Shakespeare and the Myth of Hercules M. T. JONES - DAVIES 11 7 : 21 17 33 33 57 The Rape of Lucrece and the Story of W MIEKE BAL 75 News from the Roman Empire : Hearsay , Soothsay , Myth and History in ...
Page 15
... acting styles , in the blocking of scenes and stage movement , in gestic language , and in the eco- nomy of staging ... actors and script . Ideally , if we are to reproduce the original staging we need also to reproduce something like ...
... acting styles , in the blocking of scenes and stage movement , in gestic language , and in the eco- nomy of staging ... actors and script . Ideally , if we are to reproduce the original staging we need also to reproduce something like ...
Page 20
... acting the part of his dead father . He is not claiming to be the real king . In the heat of the moment in the play that posture gets lost in Hamlet's subsequent struggle with Laertes inside the grave - trap . But when in the following ...
... acting the part of his dead father . He is not claiming to be the real king . In the heat of the moment in the play that posture gets lost in Hamlet's subsequent struggle with Laertes inside the grave - trap . But when in the following ...
Page 32
... by the characters of Helena . Bertram and Parolles in such a way that the framework supplied by the contemporary situation has receded from view . ENCHANTING METADRAMA : SHAKESPEARE'S USE OF THE BOY ACTOR IN 32 WILLEM SCHRICKX.
... by the characters of Helena . Bertram and Parolles in such a way that the framework supplied by the contemporary situation has receded from view . ENCHANTING METADRAMA : SHAKESPEARE'S USE OF THE BOY ACTOR IN 32 WILLEM SCHRICKX.
Page 33
... actor in this comedy . It is beyond doubt that Shakespeare wrote his plays for a socially heterogeneous audience , but it may still be possible to indicate that he expected differing responses to them . 1 As an actor and sharer in the ...
... actor in this comedy . It is beyond doubt that Shakespeare wrote his plays for a socially heterogeneous audience , but it may still be possible to indicate that he expected differing responses to them . 1 As an actor and sharer in the ...
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 |
Other editions - View all
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 |