Time and the Artist in Shakespeare's English HistoriesUniversity of Delaware Press, 1983 - 278 páginas This book is a critical inquiry into Shakespeare's English history plays of the 1590s which poses radical questions about the relationship between dramatic making and historic knowing. What happens, the author asks, when a powerful imagination that transforms everything it touches into present action grapples with the stuff of history? What becomes of the history, and what happens to the drama? What are the history plays? The author seeks to answer these and other fundamental questions. |
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Resultados 1-3 de 11
Página 220
... Harfleur ( 3. 1 ) . Faced with the threat of chaotic re- treat , Henry responds with a powerful rhetorical performance . According to Alan Howard , “ Playing the [ ' Once more unto the breach ' ] speech full tilt is like trying to run ...
... Harfleur ( 3. 1 ) . Faced with the threat of chaotic re- treat , Henry responds with a powerful rhetorical performance . According to Alan Howard , “ Playing the [ ' Once more unto the breach ' ] speech full tilt is like trying to run ...
Página 223
... Harfleur . . . If not . . . . " The rhetorical form is the vehicle of sanction , allowing Henry to play " soldier . . . in my thoughts " and sur- render the role of king and controller . The straining grey- hounds of the breach become ...
... Harfleur . . . If not . . . . " The rhetorical form is the vehicle of sanction , allowing Henry to play " soldier . . . in my thoughts " and sur- render the role of king and controller . The straining grey- hounds of the breach become ...
Página 236
... Harfleur . Having sounded there his own capacity to act violently , he proceeds to do so here . But there is no conflict between stranger and hero any longer , just right action . No excess of self - knowledge cripples this soldier ...
... Harfleur . Having sounded there his own capacity to act violently , he proceeds to do so here . But there is no conflict between stranger and hero any longer , just right action . No excess of self - knowledge cripples this soldier ...
Índice
Introduction | 11 |
The Artist as Adventurer | 21 |
Undoing all as all had never | 42 |
Direitos de autor | |
12 outras secções não apresentadas
Palavras e frases frequentes
action actor Agincourt Angiers antic audience Bad Quartos Bastard becomes blood Boarshead Bolingbroke ceremony character Chorus comedy consciousness conventional course crown death dramatic dramatist dream E. M. W. Tillyard Edward energy English Falstaff father feel fiction fictive figure force future Gloucester Gloucester's Hal's Harfleur hath Henry IV Henry VI Henry VI plays Henry's history plays Hotspur Hubert imagine John's kind King John king of shadows king's language Love's Labor's Lost machiavellian Margaret material means Metadrama Michael Goldman mock mode Mortimer motives murder myth natural never parody passion past performance play's playwright postures present Prince reality response rhetorical rhythms Richard Richard III ritual Robert Ornstein role scene seems sense sequence Shake Shakespeare shape soldiers soliloquy speak speech stage strong possession structure style Talbot theater theatrical thou tion true University Press verbal voice words York York's
Referências a este livro
Shakespeare's English and Roman History Plays: A Marxist Approach Paul N. Siegel Pré-visualização limitada - 1986 |