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 13
... means of sounding out their huge and elusive energies . The central device is certainly the king ( or would - be king ) . Whatever else he is in myth and history , in Shakespearean drama , particularly the history plays , he is the most ...
... means of sounding out their huge and elusive energies . The central device is certainly the king ( or would - be king ) . Whatever else he is in myth and history , in Shakespearean drama , particularly the history plays , he is the most ...
Página 198
... means I banish Falstaff from my company as king ; " I do " means I banish him from the stage altogether . To do the one , Hal risks his standing with his wider audience — and not many of them down through the years have been ...
... means I banish Falstaff from my company as king ; " I do " means I banish him from the stage altogether . To do the one , Hal risks his standing with his wider audience — and not many of them down through the years have been ...
Página 238
... means to become weighed down in the pres- ent ; to act upon a dream means to become heavy in the action . Agincourt succeeds because Henry commits himself to the present action , and the future thus flows from the moment rather than ...
... means to become weighed down in the pres- ent ; to act upon a dream means to become heavy in the action . Agincourt succeeds because Henry commits himself to the present action , and the future thus flows from the moment rather than ...
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 |