Speech and Performance in Shakespeare's Sonnets and PlaysCambridge University Press, 17. 10. 2002 - Počet stran: 262 David Schalkwyk offers a sustained reading of Shakespeare's sonnets in relation to his plays. He argues that the language of the sonnets is primarily performative rather than descriptive, and bases this distinction on the philosophy of Ludwig Wittgenstein and J. L. Austin. In a wide-ranging analysis of both the 1609 Quarto of Shakespeare's sonnets and the Petrarchan discourses in a selection of plays, Schalkwyk addresses such issues as embodiment and silencing, interiority and theatricality, inequalities of power, status, gender and desire, both in the published poems and on the stage and in the context of the early modern period. In a provocative discussion of the question of proper names and naming events in the sonnets and plays, the book seeks to reopen the question of the autobiographical nature of Shakespeare's sonnets. |
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Strana 1
... fact that their author was also the period's foremost dramatist . ' The sonnets are deeply informed by the player - poet's peculiar self- consciousness about his lowly social status . Despite the added sense of personal inadequacy and ...
... fact that their author was also the period's foremost dramatist . ' The sonnets are deeply informed by the player - poet's peculiar self- consciousness about his lowly social status . Despite the added sense of personal inadequacy and ...
Strana 4
... fact that the 1609 Quarto is the only major body of sonnets in early Modern England writ- ten by a dramatist , and exploring the interaction of the sonnet and the theatre on a variety of sociological and aesthetic levels.9 To take into ...
... fact that the 1609 Quarto is the only major body of sonnets in early Modern England writ- ten by a dramatist , and exploring the interaction of the sonnet and the theatre on a variety of sociological and aesthetic levels.9 To take into ...
Strana 7
... fact , the neo - Saussurean principle that there is an essential and unbridgeable disjunction between language and the world : ' because they are a discourse of the tongue rather than of the eye , because they are “ linguistic ...
... fact , the neo - Saussurean principle that there is an essential and unbridgeable disjunction between language and the world : ' because they are a discourse of the tongue rather than of the eye , because they are “ linguistic ...
Strana 9
... fact the image of the beloved is invoked variously as the object of contention between the player - poet's eye and heart ( sonnets 24 , 47 , 47 ) , or as the haunting ' shadow ' of his absent dreams ( sonnets 27 , 37 , 42 , 53 , 61 , 98 ) ...
... fact the image of the beloved is invoked variously as the object of contention between the player - poet's eye and heart ( sonnets 24 , 47 , 47 ) , or as the haunting ' shadow ' of his absent dreams ( sonnets 27 , 37 , 42 , 53 , 61 , 98 ) ...
Strana 11
... fact , but demand , the expression of will in such a way that the person addressed responds , or at least feels guilty about not responding . '20 What appears at first glance to be a series of indicative moods in Shakespeare's sonnets ...
... fact , but demand , the expression of will in such a way that the person addressed responds , or at least feels guilty about not responding . '20 What appears at first glance to be a series of indicative moods in Shakespeare's sonnets ...
Obsah
1 | |
the sonnets Antony and Cleopatra and As You Like It | 29 |
the sonnets Loves Labours Lost Romeo and Juliet and Twelfth Night | 59 |
the sonnets Hamlet and King Lear | 102 |
the sonnets Romeo and Juliet Troilus and Cressida and Othello | 150 |
the sonnets and Alls Well that Ends Well | 198 |
Conclusion | 238 |
Bibliography | 243 |
Index | 253 |
Další vydání - Zobrazit všechny
Speech and Performance in Shakespeare's Sonnets and Plays David Schalkwyk Náhled není k dispozici. - 2002 |
Speech and Performance in Shakespeare's Sonnets and Plays David Schalkwyk Náhled není k dispozici. - 2007 |
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All's anti-theatrical Antony and Cleopatra argues argument audience beauty beloved beloved's Bertram Cambridge character claims concepts context criticism dark lady dark woman declaration Desdemona desire discourse doth early modern embodied enacts erotic Essays eyes fact fair fictional Fineman force Hamlet heart Helen historical Iago ideological illocutionary illocutionary acts interaction interiority inwardness King language games literary logical London loue Love's Labour's Lost lover lyric meaning merely metaphysical mutual Olivia Orsino Othello paradigm paradox performative perlocutionary Petrarchan play player player-poet poem poet poetic poetry political proper name Quarto reciprocity recognise relations relationship render representation rhetorical rigid designation Romeo and Juliet scene self-authorising sense sexual Shakespeare's sonnets silence sonnet 23 sonnet 44 speak speech acts stage theatre theatrical thee thing thou transform Troilus and Cressida truth Twelfth Night University Press Vendler Viola voice vows Wittgenstein women words young