A Companion to Shakespeare and PerformanceBarbara Hodgdon, W. B. Worthen John Wiley & Sons, 15 апр. 2008 г. - Всего страниц: 704 A Companion to Shakespeare and Performance provides a state-of-the-art engagement with the rapidly developing field of Shakespeare performance studies.
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Стр. 22
... play, because it is so concerned with division, multiplication, and repetition, these several origins take on an uncanny force. Philip Armstrong usefully reminds us: “Discussions of King Lear always begin again. For the text in question ...
... play, because it is so concerned with division, multiplication, and repetition, these several origins take on an uncanny force. Philip Armstrong usefully reminds us: “Discussions of King Lear always begin again. For the text in question ...
Стр. 24
... play when, desiring the same man, they die together in suicidal pursuit of him. But here in Act 1, the play pursues the exhaustion of language and subject caused by the incessant call of the “beyond' Goneril's rhetoric sets in motion ...
... play when, desiring the same man, they die together in suicidal pursuit of him. But here in Act 1, the play pursues the exhaustion of language and subject caused by the incessant call of the “beyond' Goneril's rhetoric sets in motion ...
Стр. 25
... play as a kind of allegory for James I's concept of absolutist rule, argues that the play reflects James' attempt to ... play's genre is reflected in the differing titles of the Quarto and the Folio. In the Quarto, the title page reads ...
... play as a kind of allegory for James I's concept of absolutist rule, argues that the play reflects James' attempt to ... play's genre is reflected in the differing titles of the Quarto and the Folio. In the Quarto, the title page reads ...
Стр. 28
... play too concerned about his own future and overlooks the consequences of his actions on the social order and on those closest to him. Lear also is blind to the differences in his daughters. Cordelia is not the same as her older sisters ...
... play too concerned about his own future and overlooks the consequences of his actions on the social order and on those closest to him. Lear also is blind to the differences in his daughters. Cordelia is not the same as her older sisters ...
Стр. 30
... play's end. The line between mind and body is stretched and pressured most acutely in Lear's exposure to the storm, “when the mind's free / the body's delicate” (3.4.11-12). The storm is the logical end-point of the play's incessant ...
... play's end. The line between mind and body is stretched and pressured most acutely in Lear's exposure to the storm, “when the mind's free / the body's delicate” (3.4.11-12). The storm is the logical end-point of the play's incessant ...
Содержание
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11 | |
Part II Materialities Writing and Performance | 139 |
Part III Histories | 231 |
Part IV Performance Technologies Cultural Technologies | 397 |
Part V Identities of Performance | 509 |
Part VI Performing Pedagogies | 625 |
Index | 659 |
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A Companion to Shakespeare and Performance Barbara Hodgdon,W. B. Worthen Недоступно для просмотра - 2008 |
A Companion to Shakespeare and Performance Barbara Hodgdon,W. B. Worthen Недоступно для просмотра - 2007 |
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