King John: New PerspectivesDeborah T. Curren-Aquino University of Delaware Press, 1989 - 205 страници 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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Страница 14
... rhetorical equivocation , Hubert's troubled " My lord ? " ( 3.3.66 ) when John gives his cryptic order for Arthur's death , John's " Bear with me , cousin , for I was amaz'd " ( 4.2.137 ) and his questioning of the prophetic five moons ...
... rhetorical equivocation , Hubert's troubled " My lord ? " ( 3.3.66 ) when John gives his cryptic order for Arthur's death , John's " Bear with me , cousin , for I was amaz'd " ( 4.2.137 ) and his questioning of the prophetic five moons ...
Страница 20
... rhetoric ( oaths and invocations ) are deployed throughout the play in a way that reinforces the ambivalence and division often noted in the scholarship . She finds a secular , hypo- critical jesting with heaven dominating the first ...
... rhetoric ( oaths and invocations ) are deployed throughout the play in a way that reinforces the ambivalence and division often noted in the scholarship . She finds a secular , hypo- critical jesting with heaven dominating the first ...
Страница 29
... rhetorical and generic fashioning of the past informs it with meaning ) , 2 prognostica- tion often dramatizes the self - conscious shaping of historiographic meaning by the makers of history . For many readers King John proves ...
... rhetorical and generic fashioning of the past informs it with meaning ) , 2 prognostica- tion often dramatizes the self - conscious shaping of historiographic meaning by the makers of history . For many readers King John proves ...
Страница 30
... rhetorical structures by which historical knowledge is communicated . His aim in this play is not merely to recreate the past but to dramatize the process by which historical experience is translated into histo- riographic meaning ...
... rhetorical structures by which historical knowledge is communicated . His aim in this play is not merely to recreate the past but to dramatize the process by which historical experience is translated into histo- riographic meaning ...
Страница 35
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Съдържание
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 |
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Често срещани думи и фрази
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
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Страница 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.
Страница 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.
Страница 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.
Страница 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...
Страница 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...
Страница 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.
Страница 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.
Страница 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...
Страница 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.