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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i. oldal
... 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 ...
... 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 ...
x. oldal
... critical activity and will have something new to say . The fact that each book in the series promises a Shakespeare inflected in terms of a specific urgency should ensure that , in the present as in the recent past , the accent will be ...
... critical activity and will have something new to say . The fact that each book in the series promises a Shakespeare inflected in terms of a specific urgency should ensure that , in the present as in the recent past , the accent will be ...
xii. oldal
... critical ear to my proposal , and suggested numerous changes to the typescript which have made this a much better book ; I am very grateful for his involvement . Liz Thompson helped me wrestle with how best to make the Irving recording ...
... critical ear to my proposal , and suggested numerous changes to the typescript which have made this a much better book ; I am very grateful for his involvement . Liz Thompson helped me wrestle with how best to make the Irving recording ...
38. oldal
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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