King John: New PerspectivesDeborah T. Curren-Aquino University of Delaware Press, 1989 - 205 էջ 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. |
From inside the book
Արդյունքներ 18–ի 1-ից 5-ը:
Էջ 18
... presentation and representation , on ceremony and rite . . . reveals itself in almost every departure from " the earlier play . In the defense offered in recent Shakespearean criticism of " 18 DEBORAH T. CURREN - AQUINO.
... presentation and representation , on ceremony and rite . . . reveals itself in almost every departure from " the earlier play . In the defense offered in recent Shakespearean criticism of " 18 DEBORAH T. CURREN - AQUINO.
Էջ 19
... ceremony , and , most important , kingship . Her thesis is that posses- sion without majesty leads to royal failure , and John is a king who lacks the so - called " second body " of " sacred majesty . " His personal , informal , and ...
... ceremony , and , most important , kingship . Her thesis is that posses- sion without majesty leads to royal failure , and John is a king who lacks the so - called " second body " of " sacred majesty . " His personal , informal , and ...
Էջ 23
... ceremony , and ritual . It is there in the divided legacy of Coeur de Lion among John , Arthur , and the Bastard , 36 a division that prompts the citizens of Angiers to offer the city up to the king once they know who the king is . The ...
... ceremony , and ritual . It is there in the divided legacy of Coeur de Lion among John , Arthur , and the Bastard , 36 a division that prompts the citizens of Angiers to offer the city up to the king once they know who the king is . The ...
Էջ 34
Դուք հասել եք այս գրքի դիտումների առավելագույն քանակին.
Դուք հասել եք այս գրքի դիտումների առավելագույն քանակին.
Էջ 50
Դուք հասել եք այս գրքի դիտումների առավելագույն քանակին.
Դուք հասել եք այս գրքի դիտումների առավելագույն քանակին.
Բովանդակություն
11 | |
29 | |
King John and The Troublesome Raigne A Reexamination | 41 |
King John A Study in Subversion and Containment | 62 |
Patriarchal History and Female Subversion in King John | 76 |
The Kings One Body Unceremonial Kingship in King John | 91 |
So Jest with Heaven Deity in King John | 99 |
Blots Stains and Adulteries The Impurities in King John | 114 |
Fraternal Pragmatics Speech Acts of John and the Bastard | 136 |
Constance A Theatrical Trinity | 144 |
Staging King John A Directors Observations | 165 |
The Unend of King John Shakespeares Demystification of Closure | 173 |
Select Performance History | 186 |
Select Bibliography | 193 |
Contributors | 197 |
Index | 201 |
Այլ խմբագրություններ - View all
Common terms and phrases
Arden Arthur Arthur's death audience Bastard becomes Blanch blesome Raigne Burckhardt Calderwood ceremony character Charles Kemble Chatillion Church cited in Furness citizens of Angiers claim Claire Bloom Constance Constance's critics Death of King depicts director Dolphin dramatic Drury Lane E. A. J. Honigmann E. M. W. Tillyard Eamon Grennan Elinor Elizabethan England English lords essay F. R. Benson Faulconbridge Festival France French heaven Helen Faucit historiographic Hubert innocent John's reign Kemble King John king's kingship legitimacy Lewis London Macready's majesty Manheim medieval moral mother nobles Pandulph past patriarchal patriotism pattern perspective Philip play's political present production question Renaissance rhetoric Richard Richard II Robert role royal Salisbury scene Shake Shakespeare Memorial Theatre Shakespeare Quarterly Shakespeare's History Plays Shakespeare's King John Shakespearean Meanings Siddons Siddons's speaks speare's spectator speech acts stage Stratford-upon-Avon subversive tetralogy Theatre thee thou throne tion Troublesome Raigne Tudor verbal voice Waith women words
Սիրված հատվածներ
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 17 - Our wills and fates do so contrary run, That our devices still are overthrown ; Our thoughts are ours, their ends none of our own; So think thou wilt no second husband wed; But die thy thoughts, when thy first lord is dead.
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.