Shakespeare's Webs: Networks of Meaning in Renaissance DramaRoutledge, 6 de des. 2012 - 192 pàgines In this book, renowned Renaissance drama critic Arthur F. Kinney argues that Shakespeare's method of composing plays through networks of meanings can be seen as a harbinger of today's information technology. Drawing upon hypertext and cognitive theory--areas that have for some time promised to take on more importance in the sphere of Shakespeare Studies--as well as the central metaphor of the Routledge collection The Renaissance Computer, Kinney looks in detail at four objects/images in Shakespeare's plays--mirrors, maps, clocks, and books--and explores the ways in which they make up networks of meaning within single plays and across the dramatist's body of work that anticipate in some ways the networks of meaning or "information" now possible in the computer age. |
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Resultats 1 - 5 de 54.
Pàgina vii
... plays involve images of characters holding things. With Shakespeare, for example, Hamlet (1601) can suggest a man contemplating a skull; Antony and Cleopatra (1607), a woman with an asp; Romeo and Juliet (1596), a young woman with a ...
... plays involve images of characters holding things. With Shakespeare, for example, Hamlet (1601) can suggest a man contemplating a skull; Antony and Cleopatra (1607), a woman with an asp; Romeo and Juliet (1596), a young woman with a ...
Pàgina viii
... plays resided in their objects. —Douglas Bruster (2002) Some of the most ... Shakespeare's time as well as in our own. As Mary Thomas Crane writes ... Shakespeare's plays that for her reveal certain major ideas central to a given work ...
... plays resided in their objects. —Douglas Bruster (2002) Some of the most ... Shakespeare's time as well as in our own. As Mary Thomas Crane writes ... Shakespeare's plays that for her reveal certain major ideas central to a given work ...
Pàgina ix
... Shakespeare's Brain is a brilliant application of this synthesis to six of Shakespeare's plays, charting networks of key words that bring us closer to Shakespeare's actual functioning as a playwright than we have been before. Shakespeare's ...
... Shakespeare's Brain is a brilliant application of this synthesis to six of Shakespeare's plays, charting networks of key words that bring us closer to Shakespeare's actual functioning as a playwright than we have been before. Shakespeare's ...
Pàgina x
... Shakespeare's “wooden O” is the great Globe itself, not just the theater but the world it enacts and plays to, so the casques or helmets are not just headgear on soldiers, but an army, militarism, justification by might, conquest. Much ...
... Shakespeare's “wooden O” is the great Globe itself, not just the theater but the world it enacts and plays to, so the casques or helmets are not just headgear on soldiers, but an army, militarism, justification by might, conquest. Much ...
Pàgina xiii
... Shakespeare plays, this passage gets much of its tension from the opposition between outer searching for explanation and inward reflection for interpretation, an attempt to forge cognitive pathways for various, assorted data: “My tables ...
... Shakespeare plays, this passage gets much of its tension from the opposition between outer searching for explanation and inward reflection for interpretation, an attempt to forge cognitive pathways for various, assorted data: “My tables ...
Altres edicions - Mostra-ho tot
Shakespeare's Webs: Networks of Meaning in Renaissance Drama Arthur F. Kinney Previsualització limitada - 2004 |
Shakespeare's Webs: Networks of Meaning in Renaissance Drama Arthur F. Kinney Previsualització limitada - 2004 |
Shakespeare's Webs: Networks of Meaning in Renaissance Drama Arthur F. Kinney Previsualització limitada - 2004 |
Frases i termes més freqüents
according action activity become bell body brain called Cambridge Claudius clock cognitive concept continues court cultural daughter death divided early Elizabethan England English face father fear Figure give glass Goneril Hamlet hand hath Henry History hold hour human Italy John Juliet Kent kind King Lady land language Lear learning lines live London looking lord marginal mark material matter means measure memory mind mirror nature night notes objects observation Ophelia painted past patterns person play Polonius possible practice present Quoted record reference reflection rhetoric Richard Romeo rule scene seems sense Shakespeare’s soul speak stage tells thee things Thomas thou thought tion true turn University Press writes York