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 58
... ritual identities through heraldic family crests , the exchange of bitter vaunts and threats . The Battle of St. Albans follows ( 5. 2 ) , presented as a sculptured series of tableaux reminiscent of the style of Part 1. York meets Old ...
... ritual identities through heraldic family crests , the exchange of bitter vaunts and threats . The Battle of St. Albans follows ( 5. 2 ) , presented as a sculptured series of tableaux reminiscent of the style of Part 1. York meets Old ...
Página 122
John W. Blanpied. of ritual theater is the image of Richard himself . When he throws down his warder , aborting the organized violence of the lists , he draws that violence to himself . It is an act compara- ble to the Bastard's ...
John W. Blanpied. of ritual theater is the image of Richard himself . When he throws down his warder , aborting the organized violence of the lists , he draws that violence to himself . It is an act compara- ble to the Bastard's ...
Página 235
... ritual action : it does not represent history , it makes history . Hereafter history will consist of remembering and imitating this moment . The scene's capacity to generate the wider waves of meaning and color , to move audiences , is ...
... ritual action : it does not represent history , it makes history . Hereafter history will consist of remembering and imitating this moment . The scene's capacity to generate the wider waves of meaning and color , to move audiences , is ...
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 |