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 102
... verbal texture serves to heighten the discontinuities between form and feeling and between public and private experience . In the first half of the play , the most extravagantly polished public style becomes increasingly helpless to ...
... verbal texture serves to heighten the discontinuities between form and feeling and between public and private experience . In the first half of the play , the most extravagantly polished public style becomes increasingly helpless to ...
Página 164
... verbal fiction . The persona is not a lie , however , but an impro- visation , nimbly fashioned for the occasion from the flood of materials on hand at the moment - the political crisis , his father , the king's past , his own past ...
... verbal fiction . The persona is not a lie , however , but an impro- visation , nimbly fashioned for the occasion from the flood of materials on hand at the moment - the political crisis , his father , the king's past , his own past ...
Página 261
... verbal efficacy ] is promptly countered by an adverse turn in the objective situation . ” Quoted by James L ... verbal order out of a fallen verbal cosmos . I would only emphasize that parody by its nature cuts both ways , and that ...
... verbal efficacy ] is promptly countered by an adverse turn in the objective situation . ” Quoted by James L ... verbal order out of a fallen verbal cosmos . I would only emphasize that parody by its nature cuts both ways , and that ...
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 |