Shakespeare's Theory of DramaCambridge University Press, 23/07/1998 - 232 páginas Why did Shakespeare write drama? Did he have specific reasons for his choice of this art form? Did he have clearly defined aesthetic aims in what he wanted drama to do - and why? Pauline Kiernan opens up a new area of debate for Shakespearean criticism in showing that a radical, complex defence of drama which challenged the Renaissance orthodox view of poetry, history and art can be traced in Shakespeare's plays and poems. This study, first published in 1996, examines different stages in the canon to show that far from being restricted by the 'limitations' of drama, Shakespeare consciously exploits its capacity to accommodate temporality and change, and its reliance on the physical presence of the actor. This lively, readable book offers an original and scholarly insight into what Shakespeare wanted his drama to do and why. |
Índice
Introduction | 1 |
Shakespeare and Sidney Two worlds the brazen and the golden | 6 |
Shakespeare and Ovid What strained touches rhetoric can lend poetry metamorphosed in Venus and Adonis and the Sonnets | 21 |
In scorn of nature art gave lifeless life exposing arts sterility The Rape of Lucrece The Winters Tale and The Tempest | 59 |
Oerwrested seeming dramatic illusion and the repudiation of mimesis Loves Labours Lost A Midsummer Nights Dream and Hamlet | 91 |
Thy registers and thee I both defy history challenged Richard III Henry VIII Henry V and Richard II | 127 |
Antony and Cleopatra as A Defence of Drama | 154 |
Notes | 191 |
Bibliography | 209 |
| 216 | |
Outras edições - Ver tudo
Palavras e frases frequentes
actor Antony and Cleopatra Antony's Arden edition artist audience Berowne breath Caesar Cambridge character Costard created criticism death describes doth dramatist earth emphasis Enobarbus false fiction flowers goddess Hamlet Henry Hermione human body imagine imitation Ingram and Redpath insistence insubstantial King life-like literary living Love's Labour's Lost Lucrece masque means Metamorphoses metaphor Methuen Midsummer Night's Dream mimesis mimetic mimetic art mutability myth Narcissus narrative nature nature's Octavius original Orpheus Orphic Ovid Ovid's Ovidian Oxford painting past Perdita physical play's Plutarch poem poet poet's poetic poetry Polixenes present Prospero Pyramus Pyramus and Thisbe Rape of Lucrece reality remind Renaissance repr representation rhetoric Richard Richard II Rome says scene seems sense shadows Shakespeare Shakespeare's play Shakespearean drama Sidney Sonnet Sonnet 99 speak spectators speech stage suggest tell temporality theatre theatrical thou tion truth turned University Press Venus and Adonis Winter's Tale words writes
Referências a este livro
The Self-fashioning of an Early Modern Englishwoman: Mary Carleton's Lives Mary Jo Kietzman Pré-visualização indisponível - 2004 |