Speech and Performance in Shakespeare's Sonnets and PlaysCambridge University Press, 17.10.2002 - 262 Seiten 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. |
Inhalt
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 |
253 | |
Andere Ausgaben - Alle anzeigen
Speech and Performance in Shakespeare's Sonnets and Plays David Schalkwyk Eingeschränkte Leseprobe - 2002 |
Speech and Performance in Shakespeare's Sonnets and Plays David Schalkwyk Keine Leseprobe verfügbar - 2002 |
Speech and Performance in Shakespeare's Sonnets and Plays David Schalkwyk Keine Leseprobe verfügbar - 2007 |
Häufige Begriffe und Wortgruppen
action All’s andJuliet Antony and Cleopatra argues argument audience beauty beloved beloved’s Bertram 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 ideological illocutionary illocutionary acts interaction interiority inwardness language games literary London loue Love’s Labour’s Lost lover lyric meaning merely metaphysical ofhis ofthe sonnets one’s Orsino Othello paradigm paradox performative perlocutionary Petrarchan player player-poet poem poet poet’s poetic political proper name Quarto reciprocity recognise relations relationship render representation rhetorical rigid designation Romeo and Juliet scene self-authorising sense sexual Shakespeare’s plays Shakespeare’s sonnets silence social speak speech acts stage theatre theatrical thee thing thou transform Troilus and Cressida Troilus’s truth Twelfth Night University Press Vendler voice vows Wittgenstein women words young man’s