Some Necessary Questions of the Play: A Stage-centered Analysis of Shakespeare's HamletBucknell University Press, 1994 - 171 pàgines In "For the Purposes of Defense," historian Gene A. Smith examines the politics and ideology of the fleet of small shallow-draft vessels commissioned by President Thomas Jefferson that dominated the United States Navy during the first two decades of the nineteenth century. Designed to maneuver and fight in coastal waters, the vessels had limited ability on the open seas. They were considered defensive rather than offensive craft and have become the focus of the white-water (coastal) - blue-water (seagoing) controversy as well as the navalist-antinavalist debate of the period. When examining the fleet, scholars have charged that Jefferson opposed the navy. He did not, although his most famous quote refers to "the ruinous folly of a navy." Instead, Jefferson was an economy-minded, astute politician who viewed the gunboats as part of a political-military policy rather than a naval program in itself. Gunboats were an economic and political alternative to the exorbitant costs of a blue-water navy. Their perceived initial costs would be small, and when not in use they could be hauled up and protected under cover, eliminating costly maintenance. Staffing them by a naval militia would further lessen their costs. Additionally, they were a defensive weapon that provided few opportunities for incidents at sea that might provoke war. They were also useful in revenue enforcement, suppressing piracy along the coastal frontier, checking the illegal slave trade and smuggling, as well as other nontraditional uses. Moreover, gunboat construction provided a unique political opportunity for the Jefferson administration. Gunboats could be built throughout the country, allowing the distribution of contracts beyond the regular centers of naval activity and to those areas supporting Republican politics. |
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Pàgina 15
... approach the dramatic text in the theatrical context . The illusion had a certain naive plausibility . The image of the dark - costumed Elizabethan is at once a sign for " Hamlet " and for " actor . " The play is both a classic and a ...
... approach the dramatic text in the theatrical context . The illusion had a certain naive plausibility . The image of the dark - costumed Elizabethan is at once a sign for " Hamlet " and for " actor . " The play is both a classic and a ...
Pàgina 20
... approach left Rylance in a good position to mark Hamlet's transition to strength in Act V , and to convey the search for strength in soliloquy . I am not suggesting that we replace a stultifying orthodoxy of ideas with a stultifying ...
... approach left Rylance in a good position to mark Hamlet's transition to strength in Act V , and to convey the search for strength in soliloquy . I am not suggesting that we replace a stultifying orthodoxy of ideas with a stultifying ...
Pàgina 21
... approaches to Hamlet . Ultimately , the play's logical coherence is to be found in the theater viewed not only as the ... approach , it would not be that it dominates a debate but that it refuses to disengage itself from other approaches ...
... approaches to Hamlet . Ultimately , the play's logical coherence is to be found in the theater viewed not only as the ... approach , it would not be that it dominates a debate but that it refuses to disengage itself from other approaches ...
Continguts
Space and Scrutiny in Hamlet | 27 |
Hamlet and Time | 47 |
Hamlet and the Uses | 69 |
Copyright | |
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Altres edicions - Mostra-ho tot
Some Necessary Questions of the Play: A Stage-centered Analysis of ... Robert E. Wood Previsualització limitada - 1994 |
Some Necessary Questions of the Play: A Stage-centered Analysis of ... Robert E. Wood Visualització de fragments - 1994 |
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action actor Amleth antic disposition Atheist's Tragedy audience avenger awareness becomes behavior bodily body Calderwood character Claudius Claudius's closet scene comedy concern conscience consciousness constitute contemplation context crime critical cultural death of Polonius defined Denmark dialogue discourse disruption distance dramatic text dreams Elam Elizabethan Elsinore emotional evoke expectations experience father feeling Fortinbras gallows humor genre Geoffrey Hartman Gertrude Gertrude's gestures ghost graveyard Hamlet Hamlet's soliloquies Hamlet's wit Horatio human humor joke King King's Laertes language laughter Macbeth madness means Merleau-Ponty Metadrama Metatheatre mimesis mother Mousetrap play murder myth narrative norms observation Ophelia perceived performance philosophical play's players plot Polonius presence Princeton protagonist psychological relationship Renaissance representation response revenge tragedy rhetorical role Rosencrantz and Guildenstern Ruth Thompson seems Semiotics sense sexual Shakespeare significant soliloquy speech stage space suggests textual theater theatrical theory tion ultimately University of Delaware University Press verbal words York