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Shakespeare and this "imperfect" World by Giulio Marra Pdf
This study on Shakespearean theatre attempts to correlate the cognitive impulse animating the character with the ensuing dramatic form. A Shakespearean character determines the play's structure through the intrinsic need to resolve the problem he is brought up against. He does this by utilizing theatrical means, metadramatic elements, which themselves become an integral part of the concept of theatre. Any external moral framework constricting the character within traditional dramatic forms appears, therefore, to impose perspectival limits on the text. Rather, The Tempest provides the reader with intrinsic and general guidelines through the skepticism of Prospero. Through concepts of «wonder» and «limitation» he defines the boundaries of action thus determining the idea of self-knowledge. General aesthetic and philosophical problems are embedded within the texture of the play's structure.
Finding Meaning in an Imperfect World by Iddo Landau Pdf
Is it possible for life to be meaningful when the world is filled with suffering, and when so much depends merely upon chance? Landau argues our lives often are, or could be made, meaningful-- we've just been setting the bar too high for evaluating what meaning there is. He offers new theories and practical advice that awaken us to the meaning already present in our lives and demonstrates how we can enhance it.
Shakespeare's Sublime Ethos by Jonathan P. A. Sell Pdf
Shakespeare’s Sublime Ethos: Matter, Stage, Form breaks new ground in providing a sustained, demystifying treatment of its subject and looking for answers to basic questions regarding the creation, experience, aesthetics and philosophy of Shakespearean sublimity. More specifically, it explores how Shakespeare generates a sublime mood or ethos which predisposes audiences intellectually and emotionally for the full experience of sublime pathos, explored in the companion volume, Shakespeare’s Sublime Pathos. To do so, it examines Shakespeare’s invention of sublime matter, his exploitation of the special characteristics of the Elizabethan stage, and his dramaturgical and formal simulacra of absolute space and time. In the process, it considers Shakespeare’s conception of the universe and man’s place in it and uncovers the epistemological and existential implications of key aspects of his art. As the argument unfolds, a case is made for a transhistorically baroque Shakespeare whose "bastard art" enables the dramatic restoration of an original innocence where ignorance really is bliss. Taken together, Shakespeare’s Sublime Ethos and Shakespeare’s Sublime Pathos show how Shakespearean drama integrates matter and spirit on hierarchical planes of cognition and argue that, ultimately, his is an immanent sublimity of the here-and-now enfolding a transcendence which may be imagined, simulated or evoked, but never achieved.
Shakespeare's Living Art by Rosalie Littell Colie Pdf
In this, her last book, Rosalie L. Colie suggests that by linking "forms"—verse forms, devices, motives, themes, conventions, genres—to the culture from which a writer springs and to his selection and organization of materials, we can understand the processes by which he becomes what he is, and is enabled to do what he does. She is particularly concerned with uncovering the ways in which Shakespeare used, misused, criticized, re-created, and sometimes revolutionized the received topics and devices of his craft. In this sense, Shakespeare's plays are seen as problem plays, each exploring the problematics of his craft and revealing his assessment of what was problematical. The author has chosen for study topics which connect Shakespeare with the long and rich continental Renaissance, in the hope that in the future Shakespeare might be, like Dante and Cervantes, an essential author in a comparatist's education. Usually a single topic dealing with some formal aspect of a play—the use of stereotypes to create a character highly original in stage practice, or the various manipulations of a mode (the pastoral, for example) rich in potentialities—is used to try to see in what particular ways Shakespeare shaped works that are still unique. Originally published in 1974. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Shakespeare's the Tempest by Shahzad Z. Najmuddin Pdf
A scholarly dissertation which links Shakespeare to colonization and political developments of his period. Whether you are a Shakespeare fan, interested in the colonization of Virginia or of America, a Virginian or just an avid reader, this book will fascinate you. If you are not into high-flown subjects. this is where to begin. For information on the color edition of Shakespeare's The Tempest, its Political Implications and the First Colonists of Virginia please visit www.trafford.com/04-0711.
Author : Thomas Allen Nelson Publisher : Walter de Gruyter GmbH & Co KG Page : 100 pages File Size : 52,9 Mb Release : 2019-03-18 Category : Language Arts & Disciplines ISBN : 9783111629728
Imperfect Hints Towards a New Edition of Shakespeare [By S. Felton by Samuel Felton Pdf
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Author : R. Chris Hassel, Jr. Publisher : University of Georgia Press Page : 274 pages File Size : 48,8 Mb Release : 2011-05-01 Category : Religion ISBN : 9780820338538
Faith and Folly in Shakespeare's Romantic Comedies by R. Chris Hassel, Jr. Pdf
An enduring debate among scholars has focused on the degree to which Shakespeare's plays are indebted to the Christian culture in which they were created and the manner of demonstrating that indebtedness. R. Chris Hassel, Jr. points out informed allusions to familiar Pauline and Erasmian Christian passages and themes present in Love's Labor's Lost, A Midsummer Night's Dream, Much Ado about Nothing, As You Like It, Twelfth Night, and The Merchant of Venice. He argues that not only did Shakespeare's audience understand these allusions but also that these allusions led the audience to recognize their pertinence to the playwright's uniquely Christian comic vision. Furthermore, Hassel feels this understanding of the relationship between Shakespeare's comic artistry and Christianity leads to a greater appreciation of the plays.
Judeo-Christian Thought in Shakespeare’S Plays by Thomas Arthur Bunger Pdf
Shakespeares works contain some of the most time-honored truths in Western civilization, and Shakespeare himself was a forward-thinking, enlightened man who wanted us to explore the way things were during his life, suggesting that we could all be better than what we are by human nature. Yet these now-revered Shakespearean truths were not created in a vacuum, and though Shakespeare was a product of the Renaissance, the England in which he lived was heavily influenced by Judeo-Christian thought. In Judeo-Christian Thought in Shakespeares Plays, author Thomas Arthur Bunger explores the continuing thread of Judeo-Christian thought that can be traced through the playwrights work. He offers an in-depth look at ten of Shakespeares plays as they relate to morality in the King James Bible, with Hamlet, Macbeth, Othello, King Lear, The Merchant of Venice, Henry V, Richard III, The Tempest, Julius Caesar, and Romeo and Juliet forming the basis for finding this thread. Shakespeare is not just a treasure of Western civilization; he is a treasure for the whole world, and his characters and their motives speak to humanity in general. There must, therefore, be something more to his insights than simply Western thought, and perhaps the inherent truth of living the godly life is what draws so many, everywhere, to Shakespeare.
"A leading premise of Haley's book is that modern psychological constructs are inadequate for understanding the courtly humanism dramatized by Shakespeare down to 1604. Renaissance culture knows nothing of the bourgeois subject of Locke, Freud, and Lacan. Shakespeare defines aristocratic identity in epic terms and presents not an autonomous individual but a hero whose persona is determined publicly in the "courtly mirror." That exemplary mirror, from Henry IV to Measure for Measure, reflects the heroic actions of rulers and courtiers. The historical self-awareness of Henry, Hal, and Brutus assumes a more contemporary aspect in the courtly self-consciousness of Hamlet, Duke Vincentio, and the three main characters of All's Well That Ends Well: Bertram, Helena, the King." "The "reflexivity" in the title does not indicate the self-referentiality of language, nor does it refer to the traditional paradigm of consciousness implying stable self-knowledge. Courtly reflexivity is oriented toward praxis rather than introspection. Before taking action, the courtier or cortigiana - Helena is a good example - knows only that (s)he is not what (s)he is. The courtier's deliberation is guided by a reflexive, self-regulating prudence that is usually identified with honor or love. In All's Well, Shakespeare contrasts this self-providence or heroic prudence with Divine Providence, but he does so obliquely. While focusing exclusively upon a court which prizes worldly action, he sustains his contrast through a series of ironical allusions to Scripture." "Beginning with a prologue on the problems raised by structural and theatrical interpretations of Bertram's role, Haley goes on to introduce his concept of reflexivity by way of an exchange with the new literary historicism. Chapters 1 to 3 follow the courtly debate over providence and honor, through Helena's triumph in act 2 to Bertram's deserting her. The collapse of her providential design coincides with the crisis of the sick King's honor - a crisis which Shakespeare describes alchemically, implying that alchemy, understood as reflexive chemistry, offers another mirror of the courtier's self-providence." "Chapter 4, the center of the book, brings together historical providence and Boccaccian prudence (avvedimento) in the figure of Ahab, with whom Shakespeare compares both Bertram and the Hal of Henry V. Chapters 5 to 7 pursue Shakespeare's ironic parallel between biblical Providence and courtly prudence, examining specific scenes of self-judgment and self-betrayal in the Henriad and Measure for Measure, as well as in All's Well."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Imperfect Hints Towards a New Edition of Shakespeare by Samuel Felton Pdf
This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.
Image Ethics in Shakespeare and Spenser by J. Knapp Pdf
Focusing on works by Shakespeare and Spenser, this study shows the connection between visuality and ethical action in early modern English literature. The book places early modern debates about the value of visual experience into dialogue with subsequent philosophical and ethical efforts.
Names as Metaphors in Shakespeare’s Comedies by Grant W. Smith Pdf
'Names as Metaphors in Shakespeare’s Comedies' presents a comprehensive study of names in Shakespeare’s comedies. Although names are used in daily speech as simple designators, often with minimal regard for semantic or phonological suggestiveness, their coinage is always based on analogy. They are words (i.e., signs) borrowed from previous referents and contexts, and applied to new referents. Thus, in the literary use of language, names are figurative inventions and have measurable thematic significance: they evoke an association of attributes between two or more referents, contextualize each work of literature within its time, and reflect the artistic development of the writer. In the introduction, Smith describes the literary use of names as creative choices that show the indebtedness of authors to previous literature, as well as their imaginative descriptions (etymologically and phonologically) of memorable character types, and their references to cultural phenomena that make their names meaningful to their contemporary readers and audience. This book presents fourteen essays demonstrating the analytical models explained in the introduction. These essays focus on Shakespeare’s comedies as presented in the First Folio. They do not follow the chronological order of their composition; instead, the individual essays give special attention to differences between the plays that suggest Shakespeare’s artistic development, including the varied sources of his borrowings, the differences between his etymological and phonological coinages, the frequency and types of his topical references, and his use of epithets and generics. This book will appeal to Shakespeare students and scholars at all levels, particularly those who are keen on studying his comedies. This study will also be relevant for researchers and graduate students interested in onomastics. He can be reached at [email protected].
Moving beyond traditional studies of sources and influence, Shakespeare's Marlowe analyzes the uncommonly powerful aesthetic bond between Christopher Marlowe and William Shakespeare. Not only does this study take into account recent ideas about intertextuality, but it also shows how the process of tracking Marlowe's influence itself prompts questions and reflections that illuminate the dramatists' connections. Further, after questioning the commonly held view of Marlowe and Shakespeare as rivals, the individual chapters suggest new possible interrelationships in the formation of Shakespeare's works. Such examination of Shakespeare's Marlovian inheritance enhances our understanding of the dramaturgical strategies of each writer and illuminates the importance of such strategies as shaping forces on their works. Robert Logan here makes plain how Shakespeare incorporated into his own work the dramaturgical and literary devices that resulted in Marlowe's artistic and commercial success. Logan shows how Shakespeare's examination of the mechanics of his fellow dramatist's artistry led him to absorb and develop three especially powerful influences: Marlowe's remarkable verbal dexterity, his imaginative flexibility in reconfiguring standard notions of dramatic genres, and his astute use of ambivalence and ambiguity. This study therefore argues that Marlowe and Shakespeare regarded one another not chiefly as writers with great themes, but as practicing dramatists and poets-which is where, Logan contends, the influence begins and ends.
The Cambridge Companion to Shakespeare and Contemporary Dramatists by Ton Hoenselaars Pdf
While Shakespeare's popularity has continued to grow, so has the attention paid to the work of his contemporaries. The contributors to this Companion introduce the distinctive drama of these playwrights, from the court comedies of John Lyly to the works of Richard Brome in the Caroline era. With chapters on a wide range of familiar and lesser-known dramatists, including Thomas Kyd, Christopher Marlowe, Ben Jonson, John Webster, Thomas Middleton and John Ford, this book devotes particular attention to their personal and professional relationships, occupational rivalries and collaborations. Overturning the popular misconception that Shakespeare wrote in isolation, it offers a new perspective on the most impressive body of drama in the history of the English stage.