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. |
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Strana 11
... inner reality of her character . Role- playing reveals in Rosalind a mixture of evasiveness and self - display , and in Orlando a mixture of self - absorption and self - deception , that motivate the drama of courtship . The game of ...
... inner reality of her character . Role- playing reveals in Rosalind a mixture of evasiveness and self - display , and in Orlando a mixture of self - absorption and self - deception , that motivate the drama of courtship . The game of ...
Strana 12
... inner world of our own being . In his Apologie for Poetrie , Philip Sidney pro- poses that God made man in " his own likenes " as a maker of worlds , and that man exhibits this likeness most of all in poetry , " when with the force of a ...
... inner world of our own being . In his Apologie for Poetrie , Philip Sidney pro- poses that God made man in " his own likenes " as a maker of worlds , and that man exhibits this likeness most of all in poetry , " when with the force of a ...
Strana 13
... inner self from the outward character . As Walter Ong puts it : " With writing , the earlier [ oral ] noetic state undergoes a kind of cleavage , separating the knower from the external universe and then from himself ... split- ting up ...
... inner self from the outward character . As Walter Ong puts it : " With writing , the earlier [ oral ] noetic state undergoes a kind of cleavage , separating the knower from the external universe and then from himself ... split- ting up ...
Strana 17
... inner self is to whatever character it assumes on the stage of the world . Relationship by anal- ogy allows each term greater independence than is possible when the representation is treated as a mere reflection , subordinated to ...
... inner self is to whatever character it assumes on the stage of the world . Relationship by anal- ogy allows each term greater independence than is possible when the representation is treated as a mere reflection , subordinated to ...
Strana 20
... inner world to the outer and either reconcile their rival claims or preserve personal integrity in the face of their unreconciled opposition . In this book , I hope to show how the Elizabethan theater defined these values and how ...
... inner world to the outer and either reconcile their rival claims or preserve personal integrity in the face of their unreconciled opposition . In this book , I hope to show how the Elizabethan theater defined these values and how ...
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 | |
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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