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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Página 32
... imagine Shakespeare set out to present a dra- matically weak Talbot , but he surely would have recognized what had happened during the course of the composition . In other words , the crucial point is not the relative " immaturity " of ...
... imagine Shakespeare set out to present a dra- matically weak Talbot , but he surely would have recognized what had happened during the course of the composition . In other words , the crucial point is not the relative " immaturity " of ...
Página 37
... imagine , let that rest . ” There is nothing to do but wait , " hold his tongue , " and suppress his “ rancorous spite . " After Henry has publicly put on a red Lancastrian rose and Warwick opines that " he thought no harm , " York ( as ...
... imagine , let that rest . ” There is nothing to do but wait , " hold his tongue , " and suppress his “ rancorous spite . " After Henry has publicly put on a red Lancastrian rose and Warwick opines that " he thought no harm , " York ( as ...
Página 91
... imagine a Richard nauseated by his vic- tims ' compulsive will to be used , to be " shadows . " 3 Just this kind of puppetry provoked his dramatic insurgence in the first place ( in 3 Henry VI , 3. 2 ) , and now it appears that all his ...
... imagine a Richard nauseated by his vic- tims ' compulsive will to be used , to be " shadows . " 3 Just this kind of puppetry provoked his dramatic insurgence in the first place ( in 3 Henry VI , 3. 2 ) , and now it appears that all his ...
Índice
Introduction | 11 |
The Artist as Adventurer | 21 |
Undoing all as all had never | 42 |
Direitos de autor | |
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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 |