The Unmasking of Drama: Contested Representation in Shakespeare's TragediesWayne State University Press, 1996 - Всего страниц: 213 In The Unmasking of Drama, Jonathan Baldo examines the remarkable representative power with which viewers invest Shakespearean theater, contending that struggles over representation constitute one of the greatest dramas within Shakespearean drama. From Hamlet to Coriolanus and Timon of Athens, Shakespeare's tragedies constitute the most strenuous attempts within English Renaissance tragedy to unmask its representational practices and to penetrate its own ordering principles. Baldo evaluates the theater's economical means of representation, its heavy reliance on the authority of generalizing, and its assumption of a translatability between visual and verbal signs. He discovers that those modes of representation echo Renaissance assumptions about political representation, and as a result, Shakespearean drama's self-investigations bear powerful political implications. This study reveals the flaws within the widespread assumption that Shakespeare's plays possess an almost limitless capacity to represent, to speak on behalf of subsequent generations and other cultures. Baldo shows that one of the great ironies of such a "universalist" Shakespeare is that Shakespearean drama itself challenges the Renaissance era's dominant ideas about representation: for instance, the assumption that a single body, a monarch, can represent an entire people. Paradoxically, to many, Shakespeare fulfills the very function that none of his monarchs can. |
Результаты поиска по книге
Результаты 1 – 5 из 89
Стр.
Contested Representation in Shakespeare's Tragedies Jonathan Baldo. The Unmasking of Drama CONTESTED REPRESENTATION IN SHAKESPEARE'S TRAGEDIES JONATHAN BALDO == In the theater , literature's capacity for representation seems. Front Cover.
Contested Representation in Shakespeare's Tragedies Jonathan Baldo. The Unmasking of Drama CONTESTED REPRESENTATION IN SHAKESPEARE'S TRAGEDIES JONATHAN BALDO == In the theater , literature's capacity for representation seems. Front Cover.
Стр.
Извините, доступ к содержанию этой страницы ограничен..
Извините, доступ к содержанию этой страницы ограничен..
Стр.
Извините, доступ к содержанию этой страницы ограничен..
Извините, доступ к содержанию этой страницы ограничен..
Стр. 12
Извините, доступ к содержанию этой страницы ограничен..
Извините, доступ к содержанию этой страницы ограничен..
Стр. 14
Извините, доступ к содержанию этой страницы ограничен..
Извините, доступ к содержанию этой страницы ограничен..
Содержание
Partial to Synecdoche Ophelias Rhetoric | 44 |
The Rhetoric of Shakespearean | 73 |
in Early Shakespearean Drama | 159 |
Часто встречающиеся слова и выражения
action Alcibiades Antony Apemantus auditory become body politic Brutus Brutus's Cambridge century challenge character claim common concept of representation confounding context Coriolanus Coriolanus's criticism culture difference discourses dissociated dumb-show echoes Elizabeth Elizabethan Elyot's England English essay eye and ear figure Fortinbras Foucault gaze Hamlet hear Horatio Ibid Iconoclasm impartiality instance integrity invisible Jacobean James Julius Caesar Kenneth Burke King Lear language later tragedies levelling literary London Macbeth madness Martius means Menenius's metaphor metonymy middle and later monarch novel Ophelia Othello Parliament partiality particular party patrician Phineas Fletcher play's Poet Poet's political body political representation relation Renaissance Renaissance drama representative rhetoric Rome Romeo and Juliet scene seems sense Shakespearean tragedy sight sovereign sovereignty speak spectacle speech stage suggest synecdoche theater theatrical things Timon of Athens Titus Andronicus tragic trope University Press visible visual and verbal voice whole word wounds
Ссылки на эту книгу
Author's Pen and Actor's Voice: Playing and Writing in Shakespeare's Theatre Robert Weimann Ограниченный просмотр - 2000 |