|
Showing 1 - 9 of
9 matches in All Departments
What led Shakespeare to write his most cryptic poem, 'The Phoenix
and Turtle'? Could the Phoenix represent Queen Elizabeth, on the
verge of death as Shakespeare wrote? Is the Earl of Essex, recently
executed for treason, the Turtledove lover of the Phoenix?
Questions such as these dominate scholarship of both Shakespeare's
poem and the book in which it first appeared: Robert Chester's
enigmatic collection of verse, Love's Martyr (1601), where
Shakespeare's allegory sits next to erotic love lyrics by Ben
Jonson, George Chapman and John Marston, as well as work by the
much lesser-known Chester. Don Rodrigues critiques and revises
traditional computational attribution studies by integrating the
insights of queer theory to a study of Love's Martyr. A book deeply
engaged in current debates in computational literary studies, it is
particularly attuned to questions of non-normativity, deviation and
departures from style when assessing stylistic patterns. Gathering
insights from decades of computational and traditional analyses, it
presents, most radically, data that supports the once-outlandish
theory that Shakespeare may have had a significant hand in editing
works signed by Chester. At the same time, this book insists on the
fundamentally collaborative nature of production in Love's Martyr.
Developing a compelling account of how collaborative textual
production could work among early modern writers, Shakespeare's
Queer Analytics is a much-needed methodological intervention in
computational attribution studies. It articulates what Rodrigues
describes as 'queer analytics': an approach to literary analysis
that joins the non-normative close reading of queer theory to the
distant attention of computational literary studies - highlighting
patterns that traditional readings often overlook or ignore.
Shakespeare and Social Dialogue deals with Shakespeare's language
and the rhetoric of Elizabethan letters. Moving beyond claims about
the language of individual Shakespearean characters, Magnusson
analyses dialogue, conversation, sonnets and particularly letters
of the period, which are normally read as historical documents, as
the verbal negotiation of specific social and power relations.
Thus, the rhetoric of service or friendship is explored in texts as
diverse as Sidney family letters, Shakespearean sonnets and
Burghley's state letters. The book draws on ideas from discourse
analysis and linguistic pragmatics, especially 'politeness theory',
relating these to key ideas in epistolary handbooks of the period,
including those by Erasmus and Angel Day and demonstrates that
Shakespeare's language is rooted in the everyday language of
Elizabethan culture. Magnusson creates a way of reading both
literary texts and historical documents which bridges the gap
between the methods of new historicism and linguistic criticism.
Why do we continue to experience many of Shakespeare's dramatic
characters as real people with personal histories, individual
personalities, and psychological depth? What is it that makes
Falstaff seem to jump off the page, and what gives Hamlet his
complexity? Shakespearean Character: Language in Performance
examines how the extraordinary lifelikeness of some of
Shakespeare's most enigmatic and self-conscious characters is
produced through language. Using theories drawn from linguistic
pragmatics, this book claims that our impression of characters as
real people is an effect arising from characters' pragmatic use of
language in combination with the historical and textual meanings
that Shakespeare conveys to his audience by dramatic and
meta-dramatic means. Challenging the notion of interiority
attributed to Shakespeare's characters by many contemporary
critics, theatre professionals, and audiences, the book
demonstrates that dramatic characters possess anteriority which
gives us the impression that they exist outside of- and prior to-
the play-texts as real people. Jelena Marelj's study examines five
linguistically self-conscious characters drawn from the genres of
history, tragedy and comedy, which continue to be subjects of
extensive critical debate: Falstaff, Cleopatra, Henry V, Katherine
from The Taming of the Shrew, and Hamlet. She shows that by
inferring Shakespeare's intentions through his characters' verbal
exchanges and the discourses of the play, the audience becomes
emotionally involved with or repulsed by characters and it is this
emotional response that makes these characters strikingly memorable
and intimately human. Shakespearean Character will equip readers
for further work on the genealogy of Shakespearean character,
including minor characters, stock characters, and allegorical
characters.
What led Shakespeare to write his most cryptic poem, ‘The Phoenix
and Turtle’? Could the Phoenix represent Queen Elizabeth, on the
verge of death as Shakespeare wrote? Is the Earl of Essex, recently
executed for treason, the Turtledove lover of the Phoenix?
Questions such as these dominate scholarship of both
Shakespeare’s poem and the book in which it first appeared:
Robert Chester’s enigmatic collection of verse, Love’s Martyr
(1601), where Shakespeare’s allegory sits next to erotic love
lyrics by Ben Jonson, George Chapman and John Marston, as well as
work by the much lesser-known Chester. Don Rodrigues critiques and
revises traditional computational attribution studies by
integrating the insights of queer theory to a study of Love's
Martyr. A book deeply engaged in current debates in computational
literary studies, it is particularly attuned to questions of
non-normativity, deviation and departures from style when assessing
stylistic patterns. Gathering insights from decades of
computational and traditional analyses, it presents, most
radically, data that supports the once-outlandish theory that
Shakespeare may have had a significant hand in editing works signed
by Chester. At the same time, this book insists on the
fundamentally collaborative nature of production in Love’s
Martyr. Developing a compelling account of how collaborative
textual production could work among early modern writers,
Shakespeare’s Queer Analytics is a much-needed methodological
intervention in computational attribution studies. It articulates
what Rodrigues describes as ‘queer analytics’: an approach to
literary analysis that joins the non-normative close reading of
queer theory to the distant attention of computational literary
studies – highlighting patterns that traditional readings often
overlook or ignore.
Why do we continue to experience many of Shakespeare's dramatic
characters as real people with personal histories, individual
personalities, and psychological depth? What is it that makes
Falstaff seem to jump off the page, and what gives Hamlet his
complexity? Shakespearean Character: Language in Performance
examines how the extraordinary lifelikeness of some of
Shakespeare's most enigmatic and self-conscious characters is
produced through language. Using theories drawn from linguistic
pragmatics, this book claims that our impression of characters as
real people is an effect arising from characters' pragmatic use of
language in combination with the historical and textual meanings
that Shakespeare conveys to his audience by dramatic and
meta-dramatic means. Challenging the notion of interiority
attributed to Shakespeare's characters by many contemporary
critics, theatre professionals, and audiences, the book
demonstrates that dramatic characters possess anteriority which
gives us the impression that they exist outside of- and prior to-
the play-texts as real people. Jelena Marelj's study examines five
linguistically self-conscious characters drawn from the genres of
history, tragedy and comedy, which continue to be subjects of
extensive critical debate: Falstaff, Cleopatra, Henry V, Katherine
from The Taming of the Shrew, and Hamlet. She shows that by
inferring Shakespeare's intentions through his characters' verbal
exchanges and the discourses of the play, the audience becomes
emotionally involved with or repulsed by characters and it is this
emotional response that makes these characters strikingly memorable
and intimately human. Shakespearean Character will equip readers
for further work on the genealogy of Shakespearean character,
including minor characters, stock characters, and allegorical
characters.
The power of Shakespeare's complex language - his linguistic
playfulness, poetic diction and dramatic dialogue - inspires and
challenges students, teachers, actors and theatre-goers across the
globe. It has iconic status and enormous resonance, even as
language change and the distance of time render it more opaque and
difficult. The Cambridge Companion to Shakespeare's Language
provides important contexts for understanding Shakespeare's
experiments with language and offers accessible approaches to
engaging with it directly and pleasurably. Incorporating both
practical analysis and exemplary readings of Shakespearean
passages, it covers elements of style, metre, speech action and
dialogue; examines the shaping contexts of rhetorical education and
social language; test-drives newly available digital methodologies
and technologies; and considers Shakespeare's language in relation
to performance, translation and popular culture. The Companion
explains the present state of understanding while identifying
opportunities for fresh discovery, leaving students equipped to ask
productive questions and try out innovative methods.
Shakespeare and Social Dialogue deals with Shakespeare's language
and the rhetoric of Elizabethan letters. Moving beyond claims about
the language of individual Shakespearean characters, Magnusson
analyses dialogue, conversation, sonnets and particularly letters
of the period, which are normally read as historical documents, as
the verbal negotiation of specific social and power relations.
Thus, the rhetoric of service or friendship is explored in texts as
diverse as Sidney family letters, Shakespearean sonnets and
Burghley's state letters. The book draws on ideas from discourse
analysis and linguistic pragmatics, especially 'politeness theory',
relating these to key ideas in epistolary handbooks of the period,
including those by Erasmus and Angel Day and demonstrates that
Shakespeare's language is rooted in the everyday language of
Elizabethan culture. Magnusson creates a way of reading both
literary texts and historical documents which bridges the gap
between the methods of new historicism and linguistic criticism.
This accessible and interdisciplinary volume addresses a
fundamental need in current education in language, literature and
drama. Many of today's students lack the grammatical and linguistic
skills to enable them to study Shakespearean and other Renaissance
texts as closely as their courses require. This practical guide
will help them to understand and use the structures and strategies
of written and dramatic language. Eleven short essays on aspects of
literary criticism and performance by an eminent team of
contributors are followed by a more detailed exploration of the
history of language use, grammar and spelling, plus a glossary of
terms offering definitions, contexts and examples. Together these
provide an informed and engaging historical understanding of
dramatic language in the early modern period.
The power of Shakespeare's complex language - his linguistic
playfulness, poetic diction and dramatic dialogue - inspires and
challenges students, teachers, actors and theatre-goers across the
globe. It has iconic status and enormous resonance, even as
language change and the distance of time render it more opaque and
difficult. The Cambridge Companion to Shakespeare's Language
provides important contexts for understanding Shakespeare's
experiments with language and offers accessible approaches to
engaging with it directly and pleasurably. Incorporating both
practical analysis and exemplary readings of Shakespearean
passages, it covers elements of style, metre, speech action and
dialogue; examines the shaping contexts of rhetorical education and
social language; test-drives newly available digital methodologies
and technologies; and considers Shakespeare's language in relation
to performance, translation and popular culture. The Companion
explains the present state of understanding while identifying
opportunities for fresh discovery, leaving students equipped to ask
productive questions and try out innovative methods.
|
You may like...
Midnights
Taylor Swift
CD
R418
Discovery Miles 4 180
Loot
Nadine Gordimer
Paperback
(2)
R398
R330
Discovery Miles 3 300
|