Shakespeare's NoiseUniversity of Chicago Press, 2001 - 282 עמודים "You common cry of curs! whose breath I hate / As reek o'th'rotten fens, whose loves I prize / As the dead carcasses of unburied men / That do corrupt my air: I banish you!" (from Coriolanus) Kenneth Gross explores Shakespeare's deep fascination with dangerous and disorderly forms of speaking—especially rumor, slander, insult, vituperation, and curse—and through them offers a vision of the work of words in his plays. Coriolanus's taunts or Lear's curses force us to think not just about how Shakespeare's characters speak, but also about how they hear, overhear, and mishear what is spoken, how rumor becomes tragic knowledge for Hamlet, or opens Othello to fantastic jealousies. Gross also shows how Shakespeare's preoccupation with "noisy" speech echoed and transformed a broader cultural obsession with the perils of rumor, slander, and libel in Renaissance England. Elegantly written and passionately argued, Shakespeare's Noise will challenge and delight anyone who loves his plays, from scholars to general readers, actors, and directors. |
מתוך הספר
תוצאות 1-5 מתוך 73
עמוד
... Language . 2. English language — Early modern , 1500-1700 - Obscene words . 3. English language - Early modern , 1500- 1700 - Slang . 4. Shakespeare , William , 1564-1616 - Technique . 5. Language and culture - England - History . 6 ...
... Language . 2. English language — Early modern , 1500-1700 - Obscene words . 3. English language - Early modern , 1500- 1700 - Slang . 4. Shakespeare , William , 1564-1616 - Technique . 5. Language and culture - England - History . 6 ...
עמוד 1
... language on Shakespeare's stage , because it helps suggest a theater in which the human voice takes shape from the way that language interferes with itself , assumes the power of its own disorder — especially if we recall the word's ...
... language on Shakespeare's stage , because it helps suggest a theater in which the human voice takes shape from the way that language interferes with itself , assumes the power of its own disorder — especially if we recall the word's ...
עמוד 2
... language at its most revelatory , liberating , and humaniz- ing . The study of damaging words helps us map the ambivalent springs of hu- man identity in Shakespeare , the quality of the self's attachment to the very things that threaten ...
... language at its most revelatory , liberating , and humaniz- ing . The study of damaging words helps us map the ambivalent springs of hu- man identity in Shakespeare , the quality of the self's attachment to the very things that threaten ...
עמוד 3
... language of public " election " seems strangely equivalent to slan- der , nothing but empty and contaminating public wind — against which Coriolanus can only aim self - wounding vituperation , a style of rage that echoes what is for him ...
... language of public " election " seems strangely equivalent to slan- der , nothing but empty and contaminating public wind — against which Coriolanus can only aim self - wounding vituperation , a style of rage that echoes what is for him ...
עמוד 4
... language has to frame truth , whether the truths of the historical world or the truths of the uncon- scious . The deep claims of the language within Shakespearean drama , in- cluding its power of reparation , are bound to its capacity ...
... language has to frame truth , whether the truths of the historical world or the truths of the uncon- scious . The deep claims of the language within Shakespearean drama , in- cluding its power of reparation , are bound to its capacity ...
תוכן
The Rumor of Hamlet | 10 |
The Book of the Slanderer | 33 |
A Disturbance of Hearing in Vienna | 68 |
Denigration and Hallucination in Othello | 102 |
War Noise | 131 |
King Lear and the Register of Curse | 161 |
An Imaginary Theater | 193 |
Notes | 209 |
275 | |
מהדורות אחרות - הצג הכל
מונחים וביטויים נפוצים
A. C. Bradley abuse accusation actor Angelo Angus Fletcher audience Aufidius become blessing calls calumny Cambridge character Claudio Cordelia Coriolanus Coriolanus's curse dangerous dead death defamation Desdemona desire disguise drama dream Duke Duke's echo enemies face Faerie Queene false fame fantasy fear feel gestures ghost Hamlet hear hidden human Iago Iago's imagine Isabella Julien Gracq justice Kenneth Burke kind King Lear knowledge lago language Lear's listen London Lucio magical mask means Measure for Measure mouth noise once onstage Othello Oxford play play's Plutarch poison rage Renaissance revenge rumor scandal scene secret sense Shakespeare's shame shows silence slander space speak speakers speech stage storm story strange suggests theater thee thing thou tion tongues Tragedy trans truth turn uncanny University Press utterances violence voice vols Volscian William Empson witch words wounds York