Shakespeare and the Idea of the BookOUP Oxford, 29.03.2007 - 216 Seiten The 'book' - both material and metaphoric - is strewn throughout Shakespeare's plays: it is held by Hamlet as he turns through revenge to madness; buried deep in the mudded ooze by Prospero when he has shaken out his art like music and violence; it is forced by Richard II to withstand the mortality of deposition, fetishised by lovers, tormented by pedagogues, lost by kings, written by the alienated, and hung about war with the blood of lost voices. The 'book' begins and endsShakespeare's dramatic career as change itself, standing the distance between violence and hope, between holding and losing. Shakespeare and the Idea of the Book is about the book in Shakespeare's plays. Focusing on seven plays, not only for the chronology and range they present, but also for theirparticular relationship to the book - whether it is political or humanist, cognitive or illusory, satirical or sexual, spiritual or secular, social or subjective - Scott argues that the book on stage, its literal and semantic presence, offers one of the most articulate and developed hermeneutic tools available for the study of early modern English culture. |
Inhalt
Give me that glass and therein will I read | 1 |
The Book in Performance in Titus Andronicus and Cymbeline | 26 |
Teaching Perversion and Subversion in The Taming of the Shrew and Loves Laboursx Lost | 57 |
Word Image and the Reformation of the Self in Richard II | 102 |
Forgetting and Remembering in Hamlet | 130 |
The Tempest and the Book of Illusions | 157 |
We turnd oer many books together | 187 |
195 | |
213 | |
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Häufige Begriffe und Wortgruppen
actor allusions appears art of memory authority Berowne Berowne’s Bianca Bible body book of heaven Caliban cognitive context cultural Cymbeline desire Despite discourse dramatic dream Early Modern emerge experience explore Faustus Faustus’s Folio God’s Hamlet hath human humanist Iachimo icon idea illusion imagination Imogen Jonathan Bate king king’s language Lavinia learning London Love’s Labour’s Lost lovers Lucentio Lucrece man’s material meaning men’s Metamorphoses metaphorical mind mind’s Miranda mirror narrative nature observation on-stage Ophelia Ovid Ovid’s performance Peter Greenaway play play’s Polonius Posthumus Posthumus’s potential presence printed Prospero Prospero’s books reading reality recognize references reflection relationship Renaissance represent representation response rhetoric Richard Richard II Richard’s role scene semiotic sexual Shakespeare’s Shrew signifies silence Sonnet Sonnet 23 soul space stage Stephano story suggests symbolic synthesis Tempest textual theatre theatrical Titus Titus Andronicus translation truth visual Whilst women writing Young Lucius