Particular Saints: Shakespeare's Four Antonios, Their Contexts, and Their PlaysUniversity of Delaware Press, 1997 - 250 páginas Why do characters named Antonio proliferate on the English Renaissance stage? Why are they so often paired with other characters named Sebastian? And more significantly, why are they repeatedly characterized by Shakespeare and his contemporaries as fools for love? Particular Saints draws on church history, art history, and theater history to address these questions by illustrating that Renaissance stage Antonios are a type, representing a tradition familiar to early modern audiences and exploited by Shakespeare in portraying his four major characters named Antonio. Such characters ultimately derive from the rich medieval iconography and hagiography of Saint Anthony of Egypt. How this knowledge reinforms our late-twentieth-century understanding of the four plays in question is addressed in separate chapters that range widely across each work: The Merchant of Venice, Twelfth Night, Antony and Cleopatra, and The Tempest. |
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... wisdom . As the narrative of Saint Sebastian's martyrdom progresses , he and the Romans he converts to Christianity are continually called " folyssh " by Romans who remain pagan . Just as persistently , Sebastian and his fellow ...
... wisdom . As the narrative of Saint Sebastian's martyrdom progresses , he and the Romans he converts to Christianity are continually called " folyssh " by Romans who remain pagan . Just as persistently , Sebastian and his fellow ...
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... wisdom.27 But the Colossus to which Cleopatra compares Antony after death is , as Moseley has also shown , another Renaissance emblem for wisdom ( 5.2.82-92 ) , demonstated in examples from the work of George Wither . Sometimes it is a ...
... wisdom.27 But the Colossus to which Cleopatra compares Antony after death is , as Moseley has also shown , another Renaissance emblem for wisdom ( 5.2.82-92 ) , demonstated in examples from the work of George Wither . Sometimes it is a ...
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... wisdom , 97–107 ( see also Twelfth Night : self - love ) ; identity , 88 , 90–91 , 97 , 99 , 107 , 109- 15 , 210 n . 28 ; in performance , 18 , 209 n . 20 ; revenge , 101-6 ; secular and Christian readings of , 89–92 ; self - love , 90 ...
... wisdom , 97–107 ( see also Twelfth Night : self - love ) ; identity , 88 , 90–91 , 97 , 99 , 107 , 109- 15 , 210 n . 28 ; in performance , 18 , 209 n . 20 ; revenge , 101-6 ; secular and Christian readings of , 89–92 ; self - love , 90 ...
Índice
Acknowledgments | 9 |
Characters Named Antonio | 20 |
Antonio and Alienation in | 51 |
Direitos de autor | |
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Outras edições - Ver tudo
Particular Saints: Shakespeare's Four Antonios, Their Contexts, and Their Plays Cynthia Lewis Pré-visualização limitada - 1997 |
Palavras e frases frequentes
acceptance action Antonio Antony and Cleopatra Antony's appear artists audience Bassanio become believe Caesar Caliban calls century characterization characters choice Christ Christian completely concerns continually course critics death desire discussion disguise Drama earlier early Elizabethan English especially example experience fact feelings Feste Feste's final fool foolish further give hand human ideal identity instance John judgment kind language late later least less lines live Malvolio meaning Medieval Merchant of Venice Michigan moral motives nature never Night Olivia once particular perhaps play play's political Portia practical present Press pride problem Prospero question reason reference remains Renaissance response Saint Anthony scene Sebastian seems sense Shakespeare Shylock speaks spiritual stage Antonios Studies suggests Tempest trial true truth turn Twelfth Twelfth Night University Viola wisdom wise folly worldly York
Referências a este livro
Shakespeare and the Cultures of Performance Paul Edward Yachnin,Patricia Badir Pré-visualização limitada - 2008 |
Shakespeare and the Cultures of Performance Paul Edward Yachnin,Patricia Badir Pré-visualização limitada - 2008 |