The Sound of ShakespeareRoutledge, 3 iun. 2014 - 160 pagini 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. |
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Pagina xii
... Finally , I am grateful for the encouragement and support of my family : my wonderful son Alex , as well as Ted and Lenora , Marvin and Jean , Beth and John , Geoffrey and Ania , and Bill and Janet . I would also like to thank God , for ...
... Finally , I am grateful for the encouragement and support of my family : my wonderful son Alex , as well as Ted and Lenora , Marvin and Jean , Beth and John , Geoffrey and Ania , and Bill and Janet . I would also like to thank God , for ...
Pagina 2
... finally came up and said something which was truly delightful , both when it went into the phonograph and when it came out of it . ( Gouraud , quoted in Bebb 1977 : 729 ) What I find most compelling about Colonel Gouraud's narrative of ...
... finally came up and said something which was truly delightful , both when it went into the phonograph and when it came out of it . ( Gouraud , quoted in Bebb 1977 : 729 ) What I find most compelling about Colonel Gouraud's narrative of ...
Pagina 6
... finally so overcome with guilt that it kills him in the play's final moments . In the first act no one in the theatre hears the bells but Mathias . In the second act , however , the audience begins to hear the bells as well , drawing it ...
... finally so overcome with guilt that it kills him in the play's final moments . In the first act no one in the theatre hears the bells but Mathias . In the second act , however , the audience begins to hear the bells as well , drawing it ...
Pagina 8
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Pagina 46
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Cuprins
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 |
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Termeni și expresii frecvente
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