Italian Studies in Shakespeare and His ContemporariesMichele Marrapodi, Giorgio Melchiori University of Delaware Press, 1999 - 299 pàgines These essays present some significant Italian contributions to Shakespeare studies. Expressly translated and revised for this occasion, they are representative of approaches to Shakespeare and his contemporaries in Italy and they convey a sense of the vitality and extreme variety of critical and scholarly attitudes in this field. A historical introduction by Michele Marrapodi with a postscript by Giorgio Melchiori, and a detailed bibliography, complete the volume. |
Continguts
| 5 | |
The Interdiction of Eroticism in Shakespeares Histories | 35 |
Shakespeares Discursive Strategies and Their Definitions of Subjectivity | 54 |
A Role for the Theater In Measure for Measure | 75 |
Shakespeares Uncultured Caesar on the Elizabethan Stage | 87 |
Shakespeares History Plays as a Scene of the Disappearance of Popular Discourse | 106 |
The Space of the Merchant in Shakespeares Early Comedies | 130 |
Apocalypse and Infinity of the World in Antony and Cleopatra | 143 |
But thou didst understand me by my signs The Instability of Signs in King John | 184 |
The Rhetoric of Desdemona | 198 |
The Rhetoric of Expectation and the Rhetoric of Surprise in English Baroque Theater | 223 |
Three Dramatic Incipits | 236 |
Bibliography | 257 |
Contributors | 266 |
Index | 269 |
Notes on Elizabethan Ambivalence with Examples from Shakespeare | 165 |
Altres edicions - Mostra-ho tot
Italian Studies in Shakespeare and His Contemporaries Michele Marrapodi,Giorgio Melchiori Visualització de fragments - 1999 |
Frases i termes més freqüents
action Alessandro Serpieri ambiguity Antonio Antony and Cleopatra Antony's Arden audience Bassanio behavior Belmont body bond Bruno characters CLUEB comedy comic contemporary critical cultural death Desdemona Digges discourse doth dream Dryden duke edition Elizabethan England English eros erotic essay ethics expression Falstaff father FERNANDO FERRARA figure function heaven Henry Herod Iago Iago's ideological infinite interdiction interpretation Italian Jews Julius Caesar King John King Lear language literary London Lord lovers Macbeth Marrapodi means Measure for Measure Melchiori Merchant of Venice Midsummer Night's Dream Milan moral nature Othello plot political Portia prince protasis protatic reality relationship Renaissance represented rhetorical Richard role Rome scene sense Shake Shakespeare Shylock social sovereign speak speare's spectator speech stage story studies symbolic teatro testo alla scena textual theater theatrical thee theme Theseus Thomas thou tion tradition tragedy tragic translation Troilus Troilus and Cressida University Press words
Passatges populars
Pàgina 141 - a' parted even just between twelve and one, even at the turning o' the tide: for after I saw him fumble with the sheets and play with flowers and smile upon his fingers' end, I knew there was but one way; for his nose was as sharp as a pen, and a
Pàgina 47 - I would be trebled twenty times myself, / A thousand times more fair, ten thousand times more rich, / That only to stand high in your account /1 might in virtues, beauties, livings, friends / Exceed account: but the full sum of me / Is sum of something: which to term in gross
Pàgina 132 - 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. I'll so offend, to make offence a skill, Redeeming time when men think least I will.
Pàgina 141 - So a' bade me lay more clothes on his feet: I put my hand into the bed and felt them, and they were as cold as any stone; then I felt to his knees, and so upward, and upward, and all was as cold as any stone.
Pàgina 126 - 2.2.83-90: This dream is all amiss interpreted; It was a vision fair and fortunate: Your statue spouting blood in many pipes. In which so many smiling Romans bath'd. Signifies that from you great Rome shall suck Reviving blood, and that great men shall press For tinctures, stains, relics, and cognizance. This by Calphurnia's dream is signified.
Pàgina 271 - Tell me, Apollo, for thy Daphne's love, What Cressid is, what Pandar, and what we. Her bed is India; there she lies, a pearl. Between our Ilium and where she resides, Let it be call'd the wild and wand'ring flood, Ourself the merchant, and this sailing Pandar Our doubtful hope, our convoy and our bark.
Pàgina 149 - where, for anything I know, FalstafF shall die of a sweat, unless already a be killed with your hard opinions; for Oldcastle died martyr, and this is not the man. My tongue is weary; when my legs are too, I will bid you good night. (Epilogue, 29-33)
Pàgina 235 - Desdemona. By heaven, you do me wrong. Othello. Are not you a strumpet? Desdemona. No, as I am a Christian: If to preserve this vessel for my lord From any hated foul unlawful touch, Be not to be a strumpet, I am none. Othello. What, not a whore? Desdemona. No, as I shall be saved.
Pàgina 143 - By heaven, Poins, I feel me much to blame, So idly to profane the precious time, When tempest of commotion, like the south Borne with black vapour, doth begin to melt And drop upon our bare unarmed heads. Give me my sword and cloak. Falstaff, good night. (2.4.358-63) This
Pàgina 108 - (I partly think / A due sincerity govern'd his deeds / Till he did look on me.): "I am afraid our Varlet Poet intended to inculcate, that women think ill of nothing that raises the credit of their beauty, and are ready, however virtuous, to pardon any act which they think incited by their own charms.