Playhouse and Cosmos: Shakespearean Theater as MetaphorUniversity of Delaware Press, 1985 - 188 pagini Playhouse and Cosmos systematically and comprehensively describes the function of theater and role-playing as metaphors in Shakespearean drama. The author examines this metaphor's revelatory and liberating power and concludes by affirming, with Shakespeare, the creative power of theatricality in life and in art. |
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Pagina
... experience of the spectators in withdrawing temporarily from ordinary life to enter the second world defined by the playhouse . This pattern of withdrawal and return shapes both the definition of setting and the de- velopment of ...
... experience of the spectators in withdrawing temporarily from ordinary life to enter the second world defined by the playhouse . This pattern of withdrawal and return shapes both the definition of setting and the de- velopment of ...
Pagina 13
... experience , separating the individual from the community and forc- ing him to distinguish ( in himself and in others ) the inner self from the outward character . As Walter Ong puts it : " With writing , the earlier [ oral ] noetic ...
... experience , separating the individual from the community and forc- ing him to distinguish ( in himself and in others ) the inner self from the outward character . As Walter Ong puts it : " With writing , the earlier [ oral ] noetic ...
Pagina 14
... experience is most vivid in the activity of speaking and listening . A literary work directly embodies the relation of speech to presence when it conveys and mediates its image of reality through fictive storytellers , dialogue , or ...
... experience is most vivid in the activity of speaking and listening . A literary work directly embodies the relation of speech to presence when it conveys and mediates its image of reality through fictive storytellers , dialogue , or ...
Pagina 15
... experiences , a theater of the mind . One purpose of this book is to reaffirm , even within the context of " theatrical " criticism , the liter- ary nature and value of Shakespearean drama . Metacriticism stands at the opposite extreme ...
... experiences , a theater of the mind . One purpose of this book is to reaffirm , even within the context of " theatrical " criticism , the liter- ary nature and value of Shakespearean drama . Metacriticism stands at the opposite extreme ...
Pagina 16
... experience as a whole . Jacques Ehrmann , in his critique of Huizinga , argues that " play cannot be defined by isolating it on the basis of its relationship to an a priori reality and culture ; to define play is at the same time and in ...
... experience as a whole . Jacques Ehrmann , in his critique of Huizinga , argues that " play cannot be defined by isolating it on the basis of its relationship to an a priori reality and culture ; to define play is at the same time and in ...
Cuprins
23 | |
Reality in Play Playhouse as Emblem Performance as Metaphor | 45 |
Reality and Play in Dramatic Fiction | 67 |
Theatrical Fiction and the Reality of Love in As You Like It | 86 |
Heroism History and the Theater in Henry V | 102 |
From Community to Society Cultural Transformation in Macbeth | 126 |
Conclusion | 148 |
Notes | 152 |
Works Cited | 171 |
Index | 185 |
Termeni și expresii frecvente
action actor actors and spectators affirms ambivalence Atlas audience auditorium Banquo Cambridge character Chicago Chorus Clarendon Press comedy cosmic emblem cosmos Critical defined dimensions disguise dramatic fiction dramatist Dream E. K. Chambers Edward Edward III Elizabethan drama embodies English Ernst Cassirer Essays experience fictive forest Ganymede Globe Gregory Smith Harry Berger Henry Henry's heroic heroism heterocosm human ideal imagination inner Kernan king London lovers Macbeth Macduff Malcolm Menaechmi metacritical metaphor Midsummer Night's Dream mimesis mimetic mind mode narrative nature normal world object objectifies opening scenes Orlando Oxford pattern of withdrawal play and reality play's players poetic poetry present Princeton projections relation relationship Renaissance response role role-playing Rosalind says setting Shake Shakespeare Shakespeare Quarterly Shakespearean drama Sidney stage Stephen Gosson structure subjective symbol Tamburlaine theater theatrical artifice theatrical event theatrical performance Theatrum thought tion Tragedies trans transform witches withdrawal and return Yale University York
Pasaje populare
Pagina 127 - This guest of summer, The temple-haunting martlet, does approve By his loved mansionry that the heaven's breath Smells wooingly here : no jutty, frieze, Buttress, nor coign of vantage, but this bird Hath made his pendent bed and procreant cradle : Where they most breed and haunt, I have observed The air is delicate.
Pagina 54 - Now entertain conjecture of a time, When creeping murmur, and the poring dark, Fills the wide vessel of the universe. From camp to camp, through the foul womb of night, The hum of either army stilly sounds, That the fix'd sentinels almost receive The secret whispers of each other's watch...
Pagina 113 - Once more unto the breach, dear friends, once more ; Or close the wall up with our English dead ! In peace, there's nothing so becomes a man, As modest stillness and humility ; But when the blast of war blows in our ears, Then imitate the action of the tiger ; Stiffen the sinews, summon up the blood, Disguise fair nature with hard-favored rage.
Pagina 136 - Alarum'd by his sentinel, the wolf, Whose howl's his watch, thus with his stealthy pace. With Tarquin's ravishing strides, towards his design Moves like a ghost.
Pagina 139 - For in my way it lies. Stars, hide your fires; Let not light see my black and deep desires: The eye wink at the hand; yet let that be Which the eye fears, when it is done, to see.
Pagina 75 - Things base and vile, holding no quantity, Love can transpose to form and dignity. Love looks not with the eyes, but with the mind ; And therefore is wing'd Cupid painted blind...
Pagina 55 - Purple the sails, and so perfumed that The winds were love-sick with them, the oars were silver, Which to the tune of flutes kept stroke, and made The water which they beat to follow faster, As amorous of their strokes. For her own person, It...
Pagina 40 - Nor the dejected haviour of the visage, Together with all forms, modes, shows of grief, That can denote me truly: These, indeed, seem, For they are actions that a man might play : But I have that within, which passeth show; These, but the trappings and the suits of woe.
Pagina 90 - Now, my co-mates and brothers in exile, Hath not old custom made this life more sweet Than that of painted pomp? Are not these woods More free from peril than the envious court? Here feel we but the penalty of Adam, — The seasons...