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. |
Részletek a könyvből
1 - 5 találat összesen 67 találatból.
viii. oldal
... Folkerth. 5 Shakespearean acoustemologies The greedy ear in Othello 106 The willing ear in Measure for Measure 112 Then play on 119 Notes References Index 105 123 131 143 General editor's preface In our time , the field of viii Contents.
... Folkerth. 5 Shakespearean acoustemologies The greedy ear in Othello 106 The willing ear in Measure for Measure 112 Then play on 119 Notes References Index 105 123 131 143 General editor's preface In our time , the field of viii Contents.
ix. oldal
... play can scarcely supply the grounding for an adequate response to its complex demands . For this reason , a transfer of emphasis from ' text ' towards ' context ' has increasingly been the concern of critics and scholars since World ...
... play can scarcely supply the grounding for an adequate response to its complex demands . For this reason , a transfer of emphasis from ' text ' towards ' context ' has increasingly been the concern of critics and scholars since World ...
2. oldal
... solely because he made the earliest sound recording of the play- wright's words , but perhaps more importantly because he altered the way Shakespeare's verse was spoken in the theatre . In 2 Introduction Something of the ripe old sounds.
... solely because he made the earliest sound recording of the play- wright's words , but perhaps more importantly because he altered the way Shakespeare's verse was spoken in the theatre . In 2 Introduction Something of the ripe old sounds.
5. oldal
... play , not in the Colley Cibber version which had traditionally been presented since the beginning of the previous century , but in Shakespeare's version . For the first time in over thirty years , since Samuel Phelps had tried ...
... play , not in the Colley Cibber version which had traditionally been presented since the beginning of the previous century , but in Shakespeare's version . For the first time in over thirty years , since Samuel Phelps had tried ...
6. oldal
... play would have instantly , without a doubt instantly , called to mind Irving's signature role : that of Mathias in Leopold ... play's final moments . In the first act no one in the theatre hears the bells but Mathias . In the second act ...
... play would have instantly , without a doubt instantly , called to mind Irving's signature role : that of Mathias in Leopold ... play's final moments . In the first act no one in the theatre hears the bells but Mathias . In the second act ...
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