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Author: James A. Knapp Publisher: Routledge ISBN: 131705637X Category : Literary Criticism Languages : en Pages : 262
Book Description
Throughout his plays, Shakespeare placed an extraordinary emphasis on the power of the face to reveal or conceal moral character and emotion, repeatedly inviting the audience to attend carefully to facial features and expressions. The essays collected here disclose that an attention to the power of the face in Shakespeare’s England helps explain moments when Shakespeare’s language of the self becomes intertwined with his language of the face. As the range of these essays demonstrates, an attention to Shakespeare’s treatment of faces has implications for our understanding of the historical and cultural context in which he wrote, as well as the significance of the face for the ongoing interpretation and production of the plays. Engaging with a variety of critical strands that have emerged from the so-called turn to the body, the contributors to this volume argue that Shakespeare’s invitation to look to the face for clues to inner character is not an invitation to seek a static text beneath an external image, but rather to experience the power of the face to initiate reflection, judgment, and action. The evidence of the plays suggests that Shakespeare understood that this experience was extremely complex and mysterious. By turning attention to the face, the collection offers important new analyses of a key feature of Shakespeare’s dramatic attention to the part of the body that garnered the most commentary in early modern England. By bringing together critics interested in material culture studies with those focused on philosophies of self and other and historians and theorists of performance, Shakespeare and the Power of the Face constitutes a significant contribution to our growing understanding of attitudes towards embodiment in Shakespeare’s England.
Author: James A. Knapp Publisher: Routledge ISBN: 131705637X Category : Literary Criticism Languages : en Pages : 262
Book Description
Throughout his plays, Shakespeare placed an extraordinary emphasis on the power of the face to reveal or conceal moral character and emotion, repeatedly inviting the audience to attend carefully to facial features and expressions. The essays collected here disclose that an attention to the power of the face in Shakespeare’s England helps explain moments when Shakespeare’s language of the self becomes intertwined with his language of the face. As the range of these essays demonstrates, an attention to Shakespeare’s treatment of faces has implications for our understanding of the historical and cultural context in which he wrote, as well as the significance of the face for the ongoing interpretation and production of the plays. Engaging with a variety of critical strands that have emerged from the so-called turn to the body, the contributors to this volume argue that Shakespeare’s invitation to look to the face for clues to inner character is not an invitation to seek a static text beneath an external image, but rather to experience the power of the face to initiate reflection, judgment, and action. The evidence of the plays suggests that Shakespeare understood that this experience was extremely complex and mysterious. By turning attention to the face, the collection offers important new analyses of a key feature of Shakespeare’s dramatic attention to the part of the body that garnered the most commentary in early modern England. By bringing together critics interested in material culture studies with those focused on philosophies of self and other and historians and theorists of performance, Shakespeare and the Power of the Face constitutes a significant contribution to our growing understanding of attitudes towards embodiment in Shakespeare’s England.
Author: Publisher: ISBN: Category : Languages : en Pages : 248
Book Description
men who love them of certain distorted notions about women, and teach them to know themselves. In this respect, the "Dark Lady" of the Sonnets is an archetype.
Author: Stephanie Nolen Publisher: Vintage Canada ISBN: 0307366510 Category : Art Languages : en Pages : 388
Book Description
On May 11, 2001, Globe and Mail reporter Stephanie Nolen announced a stunning discovery to the world: an attractive portrait held by an Ontario family for twelve generations, which may well be the only known portrait of Shakespeare painted during his lifetime. Shakespeare’s Face is the biography of a portrait — a literary mystery story — and the furious debate that has ensued since its discovery. A slip of paper affixed to the back proclaims “Shakespere. This likeness taken 1603, Age at that time 39 ys.” But is it really Shakespeare who peers at us from the small oil on wood painting? The twinkling eyes, reddish hair, and green jacket are not in keeping with the duller, traditional images of the bard. But they are more suggestive of the humorous and humane man who wrote the greatest plays in the English language. Shakespeare’s Face tells the riveting story of how the painting came to reside in the home of a retired engineer in a mid-sized Ontario town. The painting is reputed to be by John Sanders of Worcester, England. As a retirement project, the engineer, whose grandmother kept the family treasure under her bed, embarked on authenticating the portrait: the forensic analyses that followed have proven it without doubt to the period. In a remarkable publishing coup, Knopf Canada has gathered around Stephanie Nolen’s story a group of the world’s leading Shakespeare scholars and art and cultural historians to delve into one of the most fascinating literary mysteries of our times: “Is this the face of genius?” Excerpt from Chapter 1 of Shakespeare’s Face by Stephanie Nolen By the late afternoon I was beginning to go a little cross-eyed. I had examined countless documents and read the test results from the painting’s painstaking forensic analysis. I now had everything I needed to write my story — except for one crucial item. “Is he here?” I asked, almost in a whisper.... The owner laid the package carefully on the cluttered table. He gently pulled back the kraft paper wrapping, underneath which was a layer of bubble wrap. Then he peeled back this second layer to reveal his treasure. I was caught off-guard by how small the portrait was — and how vivid. The colours in the paint seemed too rich to be 400 years old. Except for the hairline cracks in the varnish, the face could have been painted yesterday. And there was nothing austere or haughty about it, nothing of the great man being painted for posterity. It was a rogue’s face, a charmer’s face that looked back at me with a tolerant, mischievous slightly world-weary air.... It was painted on two pieces of solid board so expertly joined that the seam was barely visible. A date, “Ano 1603”, was painted in small red letters in the top right hand corner. The right side had been nibbled by woodworms.... I stood and gazed, quelling an instinctive urge to pick the portrait up and hold it in my hands. And as my professional skepticism crumpled for a moment, I found myself wanting desperately to believe that this was indeed Shakespeare’s face.
Author: Karl F. Zender Publisher: LSU Press ISBN: 0807175455 Category : Literary Criticism Languages : en Pages : 172
Book Description
Shakespeare and Faulkner explores the moral and ethical dilemmas that characters face inside themselves and in their interactions with others in the works of these two famed authors. Karl F. Zender’s characterological study offers insightful, critically rigorous, and at times quite personal analyses of the complicated figures who inhabit several major Shakespeare plays and Faulkner novels. The two parts of this book—the first of which focuses on the English playwright, the second on the Mississippi novelist—share a common methodology in that they originate in Zender’s history as a teacher of and writer on the two authors, who until now he generally approached separately. He emphasizes the evolving insights gleaned from reading these authors over several decades, situating their texts in relation to shifting trends in criticism and highlighting the contemporary relevance of their works. The final chapter, an extended discussion of Faulkner’s Intruder in the Dust, attempts something unusual in Zender’s critical practice: It relies less on the close textual analysis that characterizes his previous work and instead explores the intersections between events depicted in the novel and his own life, both as a child and as an adult. Shakespeare and Faulkner speaks to the power of literature as a form of pleasure and of solace. With this work of engaged and thoughtful scholarly criticism, Zender reveals the centrality of storytelling to human beings’ efforts to make sense both of their journey through life and of the circumstances in which they live.
Author: Urszula Kizelbach Publisher: Rodopi ISBN: 9401211663 Category : Language Arts & Disciplines Languages : en Pages : 293
Book Description
Early modern kings adopted a new style of government, Realpolitik, as spelled out in Machiavelli’s writings. Tudor monarchs, well aware of their questionable right to the throne, posed as great dissimulators, similarly to the modern prince who “must learn from the fox and the lion”. This book paints a portrait of a successful politician according to early modern standards. Kingship is no longer understood as a divinely ordained institution, but is defined as goal-oriented policy-making, relying on conscious acting and the theatrical display of power. The volume offers an intriguing discussion on kingship in pragmatic terms, as the strategic face-saving behaviour of Shakespeare’s kings. It also demonstrates how an efficient or inefficient management of the king’s political face could decide his success or failure as a monarch, and how the Renaissance world of Shakespeare’s history plays is combined with modern theories of communication, politeness and face. “Many studies in historical pragmatics or historical stylistics purport to expose language use in social context, but they fall short when measured against this study. The author approaches Shakespeare with concepts from literary studies and linguistic pragmatics, and weaves them together seamlessly with social history. The result is a treasure trove of insights.” – Jonathan Culpeper, Lancaster University “Exploring Machiavellian politics from the perspective of linguistic pragmatics and sociological role theory, Urszula Kizelbach’s study sheds interesting new light on Shakespeare’s stage kings. Her discussion of the strategic uses of polite speech is a particularly welcome addition to our thinking about Shakespeare’s English history plays. A promising new voice in European Shakespeare studies!” – Andreas Höfele, Munich University
Author: Richard France Publisher: Routledge ISBN: 1134979932 Category : Literary Criticism Languages : en Pages : 329
Book Description
This volume is the only publication available of the fully annotated playscripts of Wells' W.P.A Federal Theatre Project and Mercury Theatre adaptations, including the "Voodoo" Macbeth, the modern-dress Julius Caesar and Welles' compilation of history plays, Five Kings.
Author: Abdelaziz Bouchara Publisher: Diplomica Verlag ISBN: 3836677539 Category : Language Arts & Disciplines Languages : en Pages : 126
Book Description
Penelope Brown and Stephen Levinson have proposed that power (P), distance (D), and the ranked extremity (R) of a face-threatening act are the universal determinants of politeness levels in dyadic discourse. This claim is tested here for Shakespeare's use of Early Modern English in Much Ado about Nothing, Measure for Measure, The Taming of the Shrew, and Twelfth Night. The comedies are used because: (1) dramatic texts provide the best information on colloquial speech of the period; (2) the psychological soliloquies in the comedies provide the access to inner life that is necessary for a proper test of politeness theory; and (3) the comedies represent the full range of society in a period of high relevance to politeness theory. The four plays are systematically searched for pairs of minimally contrasting dyads where the dimensions of contrast are power (P), distance (D), and intrinsic extremity (R). Whenever such a pair is found, there are two speeches to be scored for politeness and a prediction from theory as to which should be more polite. The results for P and for R are those predicted by theory, but the results for D are not. The two components of D, interactive closeness and affect, are not closely associated in the plays. Affect strongly influences politeness (increased liking increases politeness and decreased liking decreases politeness); interactive closeness has little or no effect on politeness. The uses of politeness for the delineation of character in the comedies are illustrated.
Author: James A. Knapp
Author: James A. Knapp
Author: James A. Knapp
Author: 
Author: Jeffrey R. Wilson
Author: Stephanie Nolen
Author: Karl F. Zender
Author: Urszula Kizelbach
Author: Richard France
Author: Abdelaziz Bouchara
Author: Helen Kate Rogers Furness