The Sound of ShakespeareRoutledge, 2014. jún. 3. - 160 oldal The 'Sound of Shakespeare' reveals the surprising extent to which Shakespeare's art is informed by the various attitudes, beliefs, practices and discourses that pertained to sound and hearing in his culture. In this engaging study, Wes Folkerth develops listening as a critical practice, attending to the ways in which Shakespeare's plays express their author's awareness of early modern associations between sound and particular forms of ethical and aesthetic experience. Through readings of the acoustic representation of deep subjectivity in Richard III, of the 'public ear' in Antony and Cleopatra, the receptive ear in Coriolanus, the grotesque ear in A Midsummer Night's Dream, the 'greedy ear' in Othello, and the 'willing ear' in Measure for Measure, Folkerth demonstrates that by listening to Shakespeare himself listening, we derive a fuller understanding of why his works continue to resonate so strongly with is today. |
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iv. oldal
Wes Folkerth. First published 2002 by Routledge Published 2013 by Routledge 2 Park Square , Milton Park , Abingdon , Oxon OX14 4RN 711 Third Avenue , New York , NY 10017 , USA Routledge is an imprint of the Taylor & Francis Group , an ...
Wes Folkerth. First published 2002 by Routledge Published 2013 by Routledge 2 Park Square , Milton Park , Abingdon , Oxon OX14 4RN 711 Third Avenue , New York , NY 10017 , USA Routledge is an imprint of the Taylor & Francis Group , an ...
xi. oldal
... First , I say ' Say hey ! ' to Mike Bristol , who wears the number twenty - four in my book . I thank him for all of his advice , as well for his insistence , at an early stage , upon hearing my voice in this work . The Shakespeare in ...
... First , I say ' Say hey ! ' to Mike Bristol , who wears the number twenty - four in my book . I thank him for all of his advice , as well for his insistence , at an early stage , upon hearing my voice in this work . The Shakespeare in ...
5. oldal
... first time in over thirty years , since Samuel Phelps had tried unsuccessfully to present the Shake- spearean version in 1845 , London audiences heard Richard III open with the title character's soliloquy , with the words ' Now is the ...
... first time in over thirty years , since Samuel Phelps had tried unsuccessfully to present the Shake- spearean version in 1845 , London audiences heard Richard III open with the title character's soliloquy , with the words ' Now is the ...
6. oldal
... first several lines of the opening speech , until the point where the tone shifts dramatically at line fourteen , at which point they ceased , leaving Richard to descant on his own deformity in acoustic isolation ( Hankey 1981 : 89 ) ...
... first several lines of the opening speech , until the point where the tone shifts dramatically at line fourteen , at which point they ceased , leaving Richard to descant on his own deformity in acoustic isolation ( Hankey 1981 : 89 ) ...
7. oldal
... first place . The primary goals of this book are to find new ways of hearing the sounds that are embedded in these playtexts , and to identify the various ethical and aesthetic dispositions Shakespeare associates specifically with sound ...
... first place . The primary goals of this book are to find new ways of hearing the sounds that are embedded in these playtexts , and to identify the various ethical and aesthetic dispositions Shakespeare associates specifically with sound ...
Tartalomjegyzék
1 | |
1 Shakespearience | 12 |
2 The public ear | 34 |
3 Receptivity | 68 |
4 Transformation and continuity | 87 |
5 Shakespearean acoustemologies | 105 |
Notes | 123 |
References | 131 |
Index | 143 |
Más kiadások - Összes megtekintése
Gyakori szavak és kifejezések
acoustic environment actor Antony and Cleopatra ass's ears Asses eares associations attention audience aural Bacon Bakhtin become bodily stratum body Bottom Brathwaite called characters cognitive contemporary context Coriolanus critical Crooke culture describes discourse Duke early modern England example experience expression festive greedy ear grotesque grotesque body Hamlet hath haue hautboys heard Henry Irving Iago idea Irving's Isabella language listening literary London meaning Measure for Measure Menenius metaphor Midas Midsummer Night's Dream narrative noise notes notion obedience Othello pancake bell parable perceptual play's playtexts political public ear radical reading receptivity recording reference Richard Richard Brathwaite Richard III Rome scene sense sermons Shakespeare Shakespeare's plays shawms Shoemaker's Holiday social sound and hearing soundscape sower speak speare's specific speech spirits stage suggests texts theatre Thomas Dekker thou tion transformation Truax understanding visual voice vulnerability Wilkinson William Shakespeare word Wright