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
... Irving material that appears here . Richard Green of the National Library of Canada , the staff at the Recorded Sound Reference Center at the Library of Congress , and Brien Chitty of The Irving Society all assisted me with the Henry Irving ...
... Irving material that appears here . Richard Green of the National Library of Canada , the staff at the Recorded Sound Reference Center at the Library of Congress , and Brien Chitty of The Irving Society all assisted me with the Henry Irving ...
Pagina 1
... Irving's distinctive voice delivering the opening lines of Richard III , as well as passages from Henry VIII and ... Irving's initial reaction to the sound recording machine : I was never so amazed as to see Mr Irving Introduction.
... Irving's distinctive voice delivering the opening lines of Richard III , as well as passages from Henry VIII and ... Irving's initial reaction to the sound recording machine : I was never so amazed as to see Mr Irving Introduction.
Pagina 2
... Irving's sense of his own identity . Irving approaches the machine confi- dently , but his customary assurance is deflated once he begins to interact with it , especially when he hears its rendition of him . The talking machine ...
... Irving's sense of his own identity . Irving approaches the machine confi- dently , but his customary assurance is deflated once he begins to interact with it , especially when he hears its rendition of him . The talking machine ...
Pagina 3
... Irving ( Craig 1930 : 62-9 ) . What was most notable about Irving's voice , he finds ( as did others ) , was his pronunciation . It has often been noted that Irving would pronounce the word God as Gud , the word rich as ritz , sight as ...
... Irving ( Craig 1930 : 62-9 ) . What was most notable about Irving's voice , he finds ( as did others ) , was his pronunciation . It has often been noted that Irving would pronounce the word God as Gud , the word rich as ritz , sight as ...
Pagina 4
... Irving as he tried to pronounce the archaic words . Revisiting the ballad as he writes the book at hand , he finds himself transported from its original setting to Irving's theatre in London : On reading the whole ballad again , this ...
... Irving as he tried to pronounce the archaic words . Revisiting the ballad as he writes the book at hand , he finds himself transported from its original setting to Irving's theatre in London : On reading the whole ballad again , this ...
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