Shakespeare and the History of SoliloquiesFairleigh Dickinson University Press, 2003 - 470 Seiten Provides the first systematic and comprehensive account of the conventions governing soliloquies in Western drama from ancient times to the twentieth century. Over the course of theatrical history, there have been several kinds of soliloquies. Shakespeare's soliloquies are not only the most interesting and the most famous, but also the most misunderstood, and several chapters examine them in detail. The present study is based on a painstaking analysis of the actual practices of dramatists from each age of theatrical history. This investigation has uncovered evidence that refutes long-standing commonplaces about soliloquies in general, about Shakespeare's soliloquies in particular, and especially about the to be, or not to be episode. 'Shakespeare and the history of Soliloquies' casts new lights on historical changes in the artistic representation of human beings and, because representations cannot be entirely disentangled from perception, on historical changes in the ways human beings have perceived theselves. |
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Seite 105
... speech . If some soliloquies in Re- naissance drama had been interior monologues , such episodes would not have been possible . A second feigned soliloquy occurs later in the same scene . After the entrance of Moll and the Porter , Sir ...
... speech . If some soliloquies in Re- naissance drama had been interior monologues , such episodes would not have been possible . A second feigned soliloquy occurs later in the same scene . After the entrance of Moll and the Porter , Sir ...
Seite 262
... feigned soliloquy in 3.1 has a specific resemblance to that of Edmund's feigned soliloquy in the second scene of King Lear . Hamlet pretends to speak to himself to con- vince his listeners that he suffers from melancholy , and Edmund ...
... feigned soliloquy in 3.1 has a specific resemblance to that of Edmund's feigned soliloquy in the second scene of King Lear . Hamlet pretends to speak to himself to con- vince his listeners that he suffers from melancholy , and Edmund ...
Seite 274
... speech was dramatized by Shakespeare's company and interpreted by playgoers as a feigned soliloquy . It has often been pointed out that George Chapman was greatly influenced by Shakespeare's works in general and by Hamlet in particular ...
... speech was dramatized by Shakespeare's company and interpreted by playgoers as a feigned soliloquy . It has often been pointed out that George Chapman was greatly influenced by Shakespeare's works in general and by Hamlet in particular ...
Inhalt
Acknowledgments | 9 |
Representation of Speech | 35 |
From Antiquity to the Middle of the Sixteenth | 62 |
Urheberrecht | |
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acters action actor addressed speech addressed to playgoers addresses playgoers apostrophe audience address Betterton boy actor chapter char character's characters onstage Claudius clearly conventions governing soliloquies Davenant Davenant's direct access dominant convention dramatic context dramatists earlier eavesdropping eavesdropping episodes enemy evidence explicit explicitly expresses father feigned soliloquy genuine soliloquy gives voice guard his speech guarded in asides Hamlet heard hearing human Iago imagine incongruities innermost thoughts interior monologue kinds of soliloquies King King Lear late seventeenth century later liloquies Love's Labor's Lost Menaechmus mind offstage Ophelia oquies Othello outward behavior overheard soliloquies passage performed playgoers Polonius post-Renaissance presence pretends quies Renaissance Renaissance drama Renaissance playgoers representation Richard Romeo says scene self-addressed speech Shake Shakespeare's plays Shakespeare's soliloquies Shakespeare's theater situation solilo soliloquies and asides soliloquies in Shakespeare's soliloquies represented speech soliloquy guarded speaker speare's theatrical Thomas Betterton thou tion Troilus and Cressida unspoken thoughts words spoken
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