Shakespeare's Webs: Networks of Meaning in Renaissance DramaRoutledge, 2012. dec. 6. - 192 oldal In this book, renowned Renaissance drama critic Arthur F. Kinney argues that Shakespeare's method of composing plays through networks of meanings can be seen as a harbinger of today's information technology. Drawing upon hypertext and cognitive theory--areas that have for some time promised to take on more importance in the sphere of Shakespeare Studies--as well as the central metaphor of the Routledge collection The Renaissance Computer, Kinney looks in detail at four objects/images in Shakespeare's plays--mirrors, maps, clocks, and books--and explores the ways in which they make up networks of meaning within single plays and across the dramatist's body of work that anticipate in some ways the networks of meaning or "information" now possible in the computer age. |
Részletek a könyvből
1 - 5 találat összesen 27 találatból.
vii. oldal
... objects figured centrally in plays of all genres there, not just the dramatic adventures of “amorous knight[s]” that Stephen Gosson derides. Indeed, one of the clearest departures that early modern playwrights made from Aristotle's ...
... objects figured centrally in plays of all genres there, not just the dramatic adventures of “amorous knight[s]” that Stephen Gosson derides. Indeed, one of the clearest departures that early modern playwrights made from Aristotle's ...
viii. oldal
... objects. —Douglas Bruster (2002) Some of the most significant advances in science over the past thirty years have been in cognitive science and cognitive theory, helping us to understand both biologically and culturally how we as human ...
... objects. —Douglas Bruster (2002) Some of the most significant advances in science over the past thirty years have been in cognitive science and cognitive theory, helping us to understand both biologically and culturally how we as human ...
ix. oldal
... objects in a play by looking at those objects as they are employed (or conceived) elsewhere in the play, or in other works by Shakespeare and his contemporaries or in their contemporary cultural practices in the late Tudor and early ...
... objects in a play by looking at those objects as they are employed (or conceived) elsewhere in the play, or in other works by Shakespeare and his contemporaries or in their contemporary cultural practices in the late Tudor and early ...
x. oldal
... objects as objects,” she writes, “is able to resist the ease with which the study of subjectivity has been able to transcend historical context.”7 There need not be such trans-histori- cism when we look at things (with the aid of ...
... objects as objects,” she writes, “is able to resist the ease with which the study of subjectivity has been able to transcend historical context.”7 There need not be such trans-histori- cism when we look at things (with the aid of ...
xi. oldal
... objects held then (and hold now). In preparing this book, I have learned much from Mary Thomas Crane and her colleague Andrew Sofer, from Peter Stallybrass, from my Australian colleague Hugh Craig, and from two current graduate students ...
... objects held then (and hold now). In preparing this book, I have learned much from Mary Thomas Crane and her colleague Andrew Sofer, from Peter Stallybrass, from my Australian colleague Hugh Craig, and from two current graduate students ...
Más kiadások - Összes megtekintése
Shakespeare's Webs: Networks of Meaning in Renaissance Drama Arthur F. Kinney Korlátozott előnézet - 2004 |
Shakespeare's Webs: Networks of Meaning in Renaissance Drama Arthur F. Kinney Korlátozott előnézet - 2004 |
Shakespeare's Webs: Networks of Meaning in Renaissance Drama Arthur F. Kinney Korlátozott előnézet - 2004 |
Gyakori szavak és kifejezések
according action activity become bell body brain called Cambridge Claudius clock cognitive concept continues court cultural daughter death divided early Elizabethan England English face father fear Figure give glass Goneril Hamlet hand hath Henry History hold hour human Italy John Juliet Kent kind King Lady land language Lear learning lines live London looking lord marginal mark material matter means measure memory mind mirror nature night notes objects observation Ophelia painted past patterns person play Polonius possible practice present Quoted record reference reflection rhetoric Richard Romeo rule scene seems sense Shakespeare’s soul speak stage tells thee things Thomas thou thought tion true turn University Press writes York