The Sound of ShakespeareRoutledge, 3 de juny 2014 - 160 pàgines The 'Sound of Shakespeare' reveals the surprising extent to which Shakespeare's art is informed by the various attitudes, beliefs, practices and discourses that pertained to sound and hearing in his culture. In this engaging study, Wes Folkerth develops listening as a critical practice, attending to the ways in which Shakespeare's plays express their author's awareness of early modern associations between sound and particular forms of ethical and aesthetic experience. Through readings of the acoustic representation of deep subjectivity in Richard III, of the 'public ear' in Antony and Cleopatra, the receptive ear in Coriolanus, the grotesque ear in A Midsummer Night's Dream, the 'greedy ear' in Othello, and the 'willing ear' in Measure for Measure, Folkerth demonstrates that by listening to Shakespeare himself listening, we derive a fuller understanding of why his works continue to resonate so strongly with is today. |
Des de l'interior del llibre
Resultats 1 - 5 de 15.
Pàgina xii
... Henry Irving material that appears here . Richard Green of the National Library of Canada , the staff at the Recorded Sound Reference Center at the Library of Congress , and Brien Chitty of The Irving Society all assisted me with the Henry ...
... Henry Irving material that appears here . Richard Green of the National Library of Canada , the staff at the Recorded Sound Reference Center at the Library of Congress , and Brien Chitty of The Irving Society all assisted me with the Henry ...
Pàgina 1
... Henry Irving . Their meeting on this day is significant in the history of the Shakespearean soundscape , because it results in the production of the earliest known sound recording of Shakespeare's words . Gouraud , who is Thomas ...
... Henry Irving . Their meeting on this day is significant in the history of the Shakespearean soundscape , because it results in the production of the earliest known sound recording of Shakespeare's words . Gouraud , who is Thomas ...
Pàgina 3
... Henry Irving was well - known , and in some circles infamous , for his slightly nasal vocal delivery . Critics often commented that he would lapse inadvertently into his native Cornish accent during onstage scenes of great emotion or ...
... Henry Irving was well - known , and in some circles infamous , for his slightly nasal vocal delivery . Critics often commented that he would lapse inadvertently into his native Cornish accent during onstage scenes of great emotion or ...
Pàgina 4
... Irving's peculiar pronunciation in an authoritative , romantic past , rather than call attention to the influence of ... Henry Irving's voice embodies the vibrant history of the national language . His voice is itself a kind of recording ...
... Irving's peculiar pronunciation in an authoritative , romantic past , rather than call attention to the influence of ... Henry Irving's voice embodies the vibrant history of the national language . His voice is itself a kind of recording ...
Pàgina 6
... Irving's signature role : that of Mathias in Leopold Lewis's melodrama The Bells . This was the part which in 1871 ... Henry Irving actually sounded like at that moment in 1888. We quite reasonably intuit that 6 Introduction.
... Irving's signature role : that of Mathias in Leopold Lewis's melodrama The Bells . This was the part which in 1871 ... Henry Irving actually sounded like at that moment in 1888. We quite reasonably intuit that 6 Introduction.
Continguts
1 | |
1 Shakespearience | 12 |
2 The public ear | 34 |
3 Receptivity | 68 |
4 Transformation and continuity | 87 |
5 Shakespearean acoustemologies | 105 |
Notes | 123 |
References | 131 |
Index | 143 |
Altres edicions - Mostra-ho tot
Frases i termes més freqüents
acoustic environment actor Antony and Cleopatra ass's ears Asses eares associations attention audience aural Bacon Bakhtin become bodily stratum body Bottom Brathwaite called characters cognitive contemporary context Coriolanus critical Crooke culture describes discourse Duke early modern England example experience expression festive greedy ear grotesque grotesque body Hamlet hath haue hautboys heard Henry Irving Iago idea Irving's Isabella language listening literary London meaning Measure for Measure Menenius metaphor Midas Midsummer Night's Dream narrative noise notes notion obedience Othello pancake bell parable perceptual play's playtexts political public ear radical reading receptivity recording reference Richard Richard Brathwaite Richard III Rome scene sense sermons Shakespeare Shakespeare's plays shawms Shoemaker's Holiday social sound and hearing soundscape sower speak speare's specific speech spirits stage suggests texts theatre Thomas Dekker thou tion transformation Truax understanding visual voice vulnerability Wilkinson William Shakespeare word Wright