Some Necessary Questions of the Play: A Stage-centered Analysis of Shakespeare's HamletBucknell University Press, 1994 - 171 oldal In "For the Purposes of Defense," historian Gene A. Smith examines the politics and ideology of the fleet of small shallow-draft vessels commissioned by President Thomas Jefferson that dominated the United States Navy during the first two decades of the nineteenth century. Designed to maneuver and fight in coastal waters, the vessels had limited ability on the open seas. They were considered defensive rather than offensive craft and have become the focus of the white-water (coastal) - blue-water (seagoing) controversy as well as the navalist-antinavalist debate of the period. When examining the fleet, scholars have charged that Jefferson opposed the navy. He did not, although his most famous quote refers to "the ruinous folly of a navy." Instead, Jefferson was an economy-minded, astute politician who viewed the gunboats as part of a political-military policy rather than a naval program in itself. Gunboats were an economic and political alternative to the exorbitant costs of a blue-water navy. Their perceived initial costs would be small, and when not in use they could be hauled up and protected under cover, eliminating costly maintenance. Staffing them by a naval militia would further lessen their costs. Additionally, they were a defensive weapon that provided few opportunities for incidents at sea that might provoke war. They were also useful in revenue enforcement, suppressing piracy along the coastal frontier, checking the illegal slave trade and smuggling, as well as other nontraditional uses. Moreover, gunboat construction provided a unique political opportunity for the Jefferson administration. Gunboats could be built throughout the country, allowing the distribution of contracts beyond the regular centers of naval activity and to those areas supporting Republican politics. |
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7. oldal
... Soliloquies 69 91 Part III : Theatrical Expectations 5. Body , Actor , and Character in Hamlet 6. Issues of Culture and Genre 111 131 Notes Works Cited Index 151 163 169 Textual Note Except where noted , I have used The.
... Soliloquies 69 91 Part III : Theatrical Expectations 5. Body , Actor , and Character in Hamlet 6. Issues of Culture and Genre 111 131 Notes Works Cited Index 151 163 169 Textual Note Except where noted , I have used The.
17. oldal
... , we are led to share his intense contem- plation of the passing time in which the drama itself is grounded . The next phase of my study examines two aspects of Hamlet's language , wit , and soliloquy . Though not inherently INTRODUCTION ...
... , we are led to share his intense contem- plation of the passing time in which the drama itself is grounded . The next phase of my study examines two aspects of Hamlet's language , wit , and soliloquy . Though not inherently INTRODUCTION ...
18. oldal
... soliloquy . Though not inherently at odds , wit and soliloquy become mutually exclusive alternatives in the protagonist's interrogation of language . Hamlet's wit assaults language at the level of the word . His soliloquies attack ...
... soliloquy . Though not inherently at odds , wit and soliloquy become mutually exclusive alternatives in the protagonist's interrogation of language . Hamlet's wit assaults language at the level of the word . His soliloquies attack ...
20. oldal
... soliloquy . I am not suggesting that we replace a stultifying orthodoxy of ideas with a stultifying orthodoxy of structure . Production decisions against the grain of the play may result in stunning successes , but such successes will ...
... soliloquy . I am not suggesting that we replace a stultifying orthodoxy of ideas with a stultifying orthodoxy of structure . Production decisions against the grain of the play may result in stunning successes , but such successes will ...
21. oldal
... soliloquy is better accepted than evaded . A remarkable framework for soliloquy usually creates an unremarkable soliloquy . The treatment of time in film follows different conventions from those in the theater , but it is possible to ...
... soliloquy is better accepted than evaded . A remarkable framework for soliloquy usually creates an unremarkable soliloquy . The treatment of time in film follows different conventions from those in the theater , but it is possible to ...
Tartalomjegyzék
13 | |
Space and Time | 25 |
Space and Scrutiny in Hamlet | 27 |
Taking Up the Past Hamlet and Time | 47 |
Theatrical Text | 67 |
Put Your Discourse into Some Frame Hamlet and the Uses of Wit | 69 |
About My Brains Hamlets Soliloquies | 91 |
Theatrical Expectations | 109 |
Body Actor and Character in Hamlet | 111 |
Issues of Culture and Genre | 131 |
Notes | 151 |
163 | |
169 | |
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action actor Amleth antic disposition Atheist's Tragedy audience avenger awareness becomes behavior bodily body Bucknell University Calderwood character Claudius Claudius's closet scene comedy concern conscience consciousness contemplation context crime critical cultural death of Polonius defined Denmark dialogue discourse disruption distance dramatic text dreams Elam Elizabethan Elsinore emotional evoke examines expectations experience father feeling Fortinbras genre Geoffrey Hartman Gertrude Gertrude's gesture ghost graveyard Hamlet Hamlet's soliloquies Hamlet's wit Horatio human humor joke King King's Laertes language laughter madness means Merleau-Ponty Metadrama metaphor metatheatrical mimesis mother Mousetrap play murder myth mythic narrative norms observation Ophelia past perceived performance Phenomenology of Perception philosophical play's players plot Polonius presence Princeton protagonist psychological relationship Renaissance representation response revenge tragedy rhetorical role Rosencrantz and Guildenstern Ruth Thompson seems Semiotics sense sexual Shakespeare significant soliloquy speech stage space suggests textual theater theatrical theory tion University Press verbal words