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 33 találatból.
2. oldal
... speak into the machine , and upon hearing the result of the recording is said to have responded by exclaiming , as so many of us do , ' Is that my voice ? My God ! ' ( Gouraud , quoted in Bebb 1977 : 727 ) . In time Irving's reaction to ...
... speak into the machine , and upon hearing the result of the recording is said to have responded by exclaiming , as so many of us do , ' Is that my voice ? My God ! ' ( Gouraud , quoted in Bebb 1977 : 727 ) . In time Irving's reaction to ...
3. oldal
... speaking the verse would be adopted in the following century by Laurence Olivier , whose own style has commonly been juxtaposed to that of John Gielgud , the latter considered to embody a more traditionally classical , melodic approach ...
... speaking the verse would be adopted in the following century by Laurence Olivier , whose own style has commonly been juxtaposed to that of John Gielgud , the latter considered to embody a more traditionally classical , melodic approach ...
4. oldal
... speak English as I believe it should be spoken , ' he claims , ' and as this same good rich English was always spoken in the days of Robin Hood , and long before and after . ' Henry Irving's voice embodies the vibrant history of the ...
... speak English as I believe it should be spoken , ' he claims , ' and as this same good rich English was always spoken in the days of Robin Hood , and long before and after . ' Henry Irving's voice embodies the vibrant history of the ...
5. oldal
... speak , you get a heightened sense of the reality of that otherness , a sense of how the acoustic experience of the ... speaking words by Shakespeare that he had , single - handedly , reintroduced to the English stage . This is because ...
... speak , you get a heightened sense of the reality of that otherness , a sense of how the acoustic experience of the ... speaking words by Shakespeare that he had , single - handedly , reintroduced to the English stage . This is because ...
6. oldal
... speak ... ' ( Winter , quoted in Hankey 1981 : 88 ) . The bells continued ringing through the first several lines of the opening speech , until the point where the tone shifts dramatically at line fourteen , at which point they ceased ...
... speak ... ' ( Winter , quoted in Hankey 1981 : 88 ) . The bells continued ringing through the first several lines of the opening speech , until the point where the tone shifts dramatically at line fourteen , at which point they ceased ...
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