Playhouse and Cosmos: Shakespearean Theater as MetaphorUniversity of Delaware Press, 1985 - Počet stran: 188 Playhouse and Cosmos systematically and comprehensively describes the function of theater and role-playing as metaphors in Shakespearean drama. The author examines this metaphor's revelatory and liberating power and concludes by affirming, with Shakespeare, the creative power of theatricality in life and in art. |
Vyhledávání v knize
Výsledky 1-5 z 44
Strana 9
... audiences . The papers read were : Edward III and Henry V , " at the Northeast Modern Language Association Annual Convention , Boston , March 1973 ; " The Elizabethan Theater as Metaphor , " at the Shakespeare Association of America ...
... audiences . The papers read were : Edward III and Henry V , " at the Northeast Modern Language Association Annual Convention , Boston , March 1973 ; " The Elizabethan Theater as Metaphor , " at the Shakespeare Association of America ...
Strana 11
... audience . While Rosalind's disguise gives self- conscious emphasis to theatrical artifice , it also functions as a metaphor of her response to love , disclosing in the outward form of theatrical counterfeiting the inner reality of her ...
... audience . While Rosalind's disguise gives self- conscious emphasis to theatrical artifice , it also functions as a metaphor of her response to love , disclosing in the outward form of theatrical counterfeiting the inner reality of her ...
Strana 15
... audience , as well as to its ostensible subjects and themes , into aspects of its reflexive relation to itself . The metacritic typically emphasizes the moments of scepticism , iconoclasm , or misunder- standing in a play's action , as ...
... audience , as well as to its ostensible subjects and themes , into aspects of its reflexive relation to itself . The metacritic typically emphasizes the moments of scepticism , iconoclasm , or misunder- standing in a play's action , as ...
Strana 17
... audience , by accepting the imitation , can enter another world . " 1 Play , in turn , by its very auton- omy , encourages mimesis because it provides a viewpoint that is ( or presumes to be ) outside the real . From such a viewpoint ...
... audience , by accepting the imitation , can enter another world . " 1 Play , in turn , by its very auton- omy , encourages mimesis because it provides a viewpoint that is ( or presumes to be ) outside the real . From such a viewpoint ...
Strana 24
... . The round or polygonal shape of the outdoor theaters merely made more explicit the spatial relation of actors to audiences in all Elizabethan playing places . This is one indication that the playhouse differed 24 PLAYHOUSE AND COSMOS.
... . The round or polygonal shape of the outdoor theaters merely made more explicit the spatial relation of actors to audiences in all Elizabethan playing places . This is one indication that the playhouse differed 24 PLAYHOUSE AND COSMOS.
Obsah
23 | |
Reality in Play Playhouse as Emblem Performance as Metaphor | 45 |
Reality and Play in Dramatic Fiction | 67 |
Theatrical Fiction and the Reality of Love in As You Like It | 86 |
Heroism History and the Theater in Henry V | 102 |
From Community to Society Cultural Transformation in Macbeth | 126 |
Conclusion | 148 |
Notes | 152 |
171 | |
185 | |
Běžně se vyskytující výrazy a sousloví
action actor actors and spectators affirms ambivalence Atlas audience auditorium Banquo Cambridge character Chicago Chorus Clarendon Press comedy cosmic emblem cosmos Critical defined dimensions disguise dramatic fiction dramatist Dream E. K. Chambers Edward Edward III Elizabethan drama embodies English Ernst Cassirer Essays experience fictive forest Ganymede Globe Gregory Smith Harry Berger Henry Henry's heroic heroism heterocosm human ideal imagination inner Kernan king London lovers Macbeth Macduff Malcolm Menaechmi metacritical metaphor Midsummer Night's Dream mimesis mimetic mind mode narrative nature normal world object objectifies opening scenes Orlando Oxford pattern of withdrawal play and reality play's players poetic poetry present Princeton projections relation relationship Renaissance response role role-playing Rosalind says setting Shake Shakespeare Shakespeare Quarterly Shakespearean drama Sidney stage Stephen Gosson structure subjective symbol Tamburlaine theater theatrical artifice theatrical event theatrical performance Theatrum thought tion Tragedies trans transform witches withdrawal and return Yale University York