Center Or Margin: Revisions of the English Renaissance in Honor of Leeds BarrollSusquehanna University Press, 2006 - 318 pàgines Center or Margin: Revisions of the English Renaissance in Honor of Leeds Barroll includes essays by Catherine Belsey, Harry Berger, Jr., Philippa Berry, Raphael Falco, Jean E. Howard, Lena Cowen Orlin, Patricia Parker, Phyllis Rackin, Bruce R. Smith, Barbara Maria Stafford, Peter Stallybrass, and Susanne Woods. With sections on England at the Margins, Researching the Renaissance, The Human Figure on the Stage, and Artificial Persons, the collection makes interventions in historiography as well as history, literary interpretation, and also literary criticism. Some of the issues are England's marginal status in the sixteenth- and seventeenth- century world; the re-centering strategies of the Renaissance public theater in both time and space; mutually reinforcing fallacies engendered by common practices of canon formation and historical narrative; the central meanings of marginal characters in Shakespeare and Milton; |
Des de l'interior del llibre
Resultats 1 - 5 de 58.
Pàgina 10
... character , not Lear as spokesman . " We should understand Lear's statements to speak to his dramatic characterization rather than to our personal philoso- phies . Barroll is equally unsparing about romantic notions of the inspired ...
... character , not Lear as spokesman . " We should understand Lear's statements to speak to his dramatic characterization rather than to our personal philoso- phies . Barroll is equally unsparing about romantic notions of the inspired ...
Pàgina 11
... characters in groups , and in partic- ular with individual attributes of masculinity , charisma , and voice . The fourth section , " Artificial Persons , " addresses the subjectivities and height- ened realities of fictionalized and ...
... characters in groups , and in partic- ular with individual attributes of masculinity , charisma , and voice . The fourth section , " Artificial Persons , " addresses the subjectivities and height- ened realities of fictionalized and ...
Pàgina 17
... existence . " Falco revises our understanding of Hal's early delinquency in describing it as a means by which the character enacts his personal charisma and organizes his followers ; his authority resides not only in the INTRODUCTION 17.
... existence . " Falco revises our understanding of Hal's early delinquency in describing it as a means by which the character enacts his personal charisma and organizes his followers ; his authority resides not only in the INTRODUCTION 17.
Pàgina 18
... character Hamlet is an effect — just as is the compositional device that centers the Mona Lisa in her pictorial space by framing her bosom with river channels and align- ing a distant horizon with her eyes . The Hamlet - effect is ...
... character Hamlet is an effect — just as is the compositional device that centers the Mona Lisa in her pictorial space by framing her bosom with river channels and align- ing a distant horizon with her eyes . The Hamlet - effect is ...
Pàgina 20
... characters are put by their authors . Like Patri- cia Parker ( and in contrast to Bruce R. Smith ) , she focuses on the impor- tance of a minor figure . In fact , she terms Abdiel , in Milton's Paradise Lost , a marginal character . The ...
... characters are put by their authors . Like Patri- cia Parker ( and in contrast to Bruce R. Smith ) , she focuses on the impor- tance of a minor figure . In fact , she terms Abdiel , in Milton's Paradise Lost , a marginal character . The ...
Altres edicions - Mostra-ho tot
Center Or Margin: Revisions of the English Renaissance in Honor of Leeds Barroll John Leeds Barroll Visualització de fragments - 2006 |
Frases i termes més freqüents
actor Antony appears associated audience Augustine authority barbering beard begins body called Cambridge castration century character charismatic claim Cleopatra course critics cultural cutting describes desire domestic early modern effect Elizabeth Elizabethan England English Enobarbus essay example fact familiar figure final followers force Hall Hamlet hand hear Henry human Iago imagine important institutional interest Italy John kind king Lacan less lines live London long gallery marginal marriage masculinity means nature Norfolk notes object organ original Othello Ottoman performance play plot political present produced Queen reference relation Renaissance represented rhetorical Richard role Roman scene seems sense sexual Shakespeare signifier social soliloquy sound space speak speech stage story suggests texts theater theatrical Thomas tion Turk turn University Press Wives women York
Passatges populars
Pàgina 211 - Yes, trust them not: for there is an upstart crow beautified with our feathers, that with his tiger's heart, wrapt in a player's hide, supposes he is as well able to bombast out a blank verse as the best of you; and being an absolute Johannes factotum, is in his own conceit the only Shake-scene in a country.
Pàgina 281 - This is dispens'd, and what surmounts the reach Of human sense I shall delineate so, By lik'ning spiritual to corporal forms, As may express them best ; though what if earth Be but the shadow of heav'n ; and things therein Each to other like, more than on earth is thought?
Pàgina 206 - But methinks he should stand in fear of fire, being burnt i' the hand for stealing of sheep. [Aside. CADE. Be brave then ; for your captain is brave, and vows reformation. There shall be, in England, seven halfpenny loaves sold for a penny : the threehooped pot shall have ten hoops ; and I will make it felony to drink small beer: all the realm shall be in common, and in Cheapside shall my palfrey go to grass.
Pàgina 54 - The barge she sat in, like a burnish'd throne, Burn'd on the water ; the poop was beaten gold, 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.
Pàgina 227 - And then I stole all courtesy from heaven, And dress'd myself in such humility, That I did pluck allegiance from men's hearts, Loud shouts and salutations from their mouths, Even in the presence of the crowned king.
Pàgina 139 - The Moor is of a free and open nature, That thinks men honest that but seem to be so ; And will as tenderly be led by the nose As asses are.
Pàgina 230 - And nothing pleaseth but rare accidents. So, when this loose behaviour I throw off And pay the debt I never promised, By how much better than my word I am, By so much shall I falsify men's hopes; And, like bright metal on a sullen ground, My reformation, glitt'ring o'er my fault, Shall show more goodly and attract more eyes Than that which hath no foil to set it off.
Pàgina 233 - Cover your heads, and mock not flesh and blood With solemn reverence : throw away respect, Tradition, form, and ceremonious duty, For you have but mistook me all this while: I live with bread like you, feel want, Taste grief, need friends: subjected thus, How can you say to me I am a king?