Playhouse and Cosmos: Shakespearean Theater as MetaphorUniversity of Delaware Press, 1985 - 188페이지 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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23개의 결과 중 1 - 5개
페이지
... setting : characters play roles and the setting takes on the indeterminate and imagi- nary qualities of the stage . Within dra- matic fiction , the development of the ac- tion reflects the actual experience of the spectators in ...
... setting : characters play roles and the setting takes on the indeterminate and imagi- nary qualities of the stage . Within dra- matic fiction , the development of the ac- tion reflects the actual experience of the spectators in ...
14 페이지
... - speare used it , was an intensely literary experience . Dramatic speech gained from writing a preternatural capacity to articulate thoughts and feelings ; Shakespearean techniques of scene setting and imperso- 14 PLAYHOUSE AND COSMOS.
... - speare used it , was an intensely literary experience . Dramatic speech gained from writing a preternatural capacity to articulate thoughts and feelings ; Shakespearean techniques of scene setting and imperso- 14 PLAYHOUSE AND COSMOS.
15 페이지
... setting and imperso- nation embodied dimensions of inwardness that distinguish the liter- ary from the oral frame of mind ; the playhouse itself defined the place of performance as a subjective world , corresponding to the Renaissance ...
... setting and imperso- nation embodied dimensions of inwardness that distinguish the liter- ary from the oral frame of mind ; the playhouse itself defined the place of performance as a subjective world , corresponding to the Renaissance ...
18 페이지
... setting within the play that the characters accept as real — Theseus ' Athens , Bolingbroke's court , the dukedom in Italy to which Prospero returns from the magic isle . A major objective of this book is to show how these different ...
... setting within the play that the characters accept as real — Theseus ' Athens , Bolingbroke's court , the dukedom in Italy to which Prospero returns from the magic isle . A major objective of this book is to show how these different ...
40 페이지
... setting illustrated the difference between reality and the symbols used to describe reality ; and the playhouse itself offered an architectural emblem of the interlocking subjective and objective worlds within which everyone must play ...
... setting illustrated the difference between reality and the symbols used to describe reality ; and the playhouse itself offered an architectural emblem of the interlocking subjective and objective worlds within which everyone must play ...
목차
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 |
자주 나오는 단어 및 구문
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
인기 인용구
127 페이지 - 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.
54 페이지 - 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...
113 페이지 - 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.
136 페이지 - 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.
139 페이지 - 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.
75 페이지 - 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...
55 페이지 - 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...
40 페이지 - 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.
90 페이지 - 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...