King John: New Perspectives
Illuminating Shakespeare's complex experimentation with the dramatic genre of history, these twelve essays bring such time-honored critical methods as source study and concentration on genre, imagery and language, theme, and character together with more current techniques based on historiography, the new historicism, feminism, pragmatics, performance history, and perspectivism.
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King John and The Troublesome Raigne A Reexamination
King John A Study in Subversion and Containment
Patriarchal History and Female Subversion in King John
The Kings One Body Unceremonial Kingship in King John
So Jest with Heaven Deity in King John
Blots Stains and Adulteries The Impurities in King John
Fraternal Pragmatics Speech Acts of John and the Bastard
Constance A Theatrical Trinity
Staging King John A Directors Observations
The Unend of King John Shakespeares Demystification of Closure
Select Performance History
The Four Voices of the Bastard
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action appears Arthur Association attempt audience authority Bastard becomes Blanch body calls ceremony character Church claim Constance Constance's course created critics death describes director drama earlier effect Elinor Elizabethan England English essay example expression fact father Faucit Faulconbridge figure final forces France French give hand heaven Helen Henry historiographic history plays Holinshed Hubert ideal John's King John knows language later less Lewis lines London lords majesty meaning moral mother nature never nobles notes observes Pandulph past patriarchal pattern performance perspective Philip political present Press Prince production provides question reference represent response rhetoric Richard Robert role royal scene seems sense Shake Shakespeare Shakespeare's History speaks speech stage succession suggests tetralogy Theatre thou tion Troublesome Raigne University voice women
Էջ 73 - This England never did, (nor never shall,) Lie at the proud foot of a conqueror, But when it first did help to wound itself. Now these her princes are come home again, Come the three corners of the world in arms, And we shall shock them : Nought shall make us rue, If England to itself do rest but true.
Էջ 37 - From forth this morsel of dead royalty, The life, the right, and truth of all this realm Is fled to heaven ; and England now is left To tug and scamble, and to part by the teeth The unow'd interest of proud-swelling state.
Էջ 87 - Methinks I hear a hollow echo sound, That Philip is the son unto a King : The whistling leaves upon the trembling trees Whistle in concert I am Richard's son...
Էջ 69 - If zealous love should go in search of virtue, Where should he find it purer than in Blanch/ If love ambitious sought a match of birth, Whose veins bound richer blood than Lady Blanch...
Էջ 81 - First as daughters, then as wives, they are subject to male control, and their men speak and act on their behalf. But in King John, the fathers and husbands are dead, reduced to the status of names in history books, and the mothers survive on Shakespeare's stage to dispute the fathers' wills and threaten their patriarchal legacies.
Էջ 100 - We are all, in effect, become comedians in religion ; and while we act in gesture and voice, divine virtues, in all the course of our lives we renounce our persons, and the parts we play.
Էջ 89 - For the audience watching the play, there is no unquestionably legitimate cause to claim their allegiance. For scholarly editors, the play has a problematic text and a clouded authorial genealogy. Not only does it include an abundance of fictional material not found in the historiographic sources; in addition, there is no way to know whether Shakespeare is the original author of that fictional material, since much of it is also found in a roughly contemporary play, The Troublesome Raigne of lohn...
Էջ 36 - It is good to appear merciful, truthful, humane, sincere, and religious; it is good to be so in reality. But you must keep your mind so disposed that, in case of need, you can turn to the exact contrary.