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.
xi. oldal
... voice in this work . The Shakespeare in Perfor- mance Research Team at McGill and Concordia universities has provided a wonderfully vibrant intellectual environment in which to conduct this research . In addition to Mike , I wish to ...
... voice in this work . The Shakespeare in Perfor- mance Research Team at McGill and Concordia universities has provided a wonderfully vibrant intellectual environment in which to conduct this research . In addition to Mike , I wish to ...
1. oldal
... voice.1 The machine captures Irving's distinctive voice delivering the opening lines of Richard III , as well as passages from Henry VIII and other roles he was famous for playing , such as Mathias in The Bells . Several months after ...
... voice.1 The machine captures Irving's distinctive voice delivering the opening lines of Richard III , as well as passages from Henry VIII and other roles he was famous for playing , such as Mathias in The Bells . Several months after ...
2. oldal
... voice . I had actually to put him through his paces to train him for it , to make him walk backwards and forwards a bit , and when he had got into the swing , he finally came up and said something which was truly delightful , both when ...
... voice . I had actually to put him through his paces to train him for it , to make him walk backwards and forwards a bit , and when he had got into the swing , he finally came up and said something which was truly delightful , both when ...
3. oldal
... voice , it was his own way of minimising the lack , and turning a weakness into a strength . ( Bebb 1977 : 730 ) Probably the most familiar treatment of Irving's voice is found in Edward Gordon Craig's memoir of the actor . Craig ...
... voice , it was his own way of minimising the lack , and turning a weakness into a strength . ( Bebb 1977 : 730 ) Probably the most familiar treatment of Irving's voice is found in Edward Gordon Craig's memoir of the actor . Craig ...
4. oldal
... voice ; and as I listen to this pure old English strain I think how strange it is that it is always for preserving the best that men lay themselves open to the attacks of their fellows . For this is the old English speech , and Irving ...
... voice ; and as I listen to this pure old English strain I think how strange it is that it is always for preserving the best that men lay themselves open to the attacks of their fellows . For this is the old English speech , and Irving ...
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