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 109
... motives seemed only distantly related to the seduction . But here those motives are wholly dissociated . The full emphasis falls upon the sheer gratuitous attempt to blind Stalking " Strong Possession " in King John 109.
... motives seemed only distantly related to the seduction . But here those motives are wholly dissociated . The full emphasis falls upon the sheer gratuitous attempt to blind Stalking " Strong Possession " in King John 109.
Página 215
... motives are plainly mixed , and war is urged for almost too many good reasons . Henry carefully insists on public ... motive for the war occurs in the Salic Law speech , but the emotional trigger , both for us and for the onstage ...
... motives are plainly mixed , and war is urged for almost too many good reasons . Henry carefully insists on public ... motive for the war occurs in the Salic Law speech , but the emotional trigger , both for us and for the onstage ...
Página 263
... Motive in Shakespeare ( London : Longmans , Green , 1949 ) ; Philip Williams ' " The Birth and Death of Falstaff ... Motives of Eloquence : Literary Rhetoric in the Renaissance ( New Haven , Conn .: Yale University Press , 1976 ) ...
... Motive in Shakespeare ( London : Longmans , Green , 1949 ) ; Philip Williams ' " The Birth and Death of Falstaff ... Motives of Eloquence : Literary Rhetoric in the Renaissance ( New Haven , Conn .: Yale University Press , 1976 ) ...
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 |