Teaching with Shakespeare: Critics in the ClassroomBruce McIver, Ruth Stevenson University of Delaware Press, 1994 - 269 pagina's "Today the number and nature of interpretive strategies developed by contemporary theorists for reading Shakespeare's texts may not only delight but also disconcert the scholars, critics, teachers, and students who study them. In this work, six leading Shakespearean scholar-critics, in a series of clear and elegant lectures delivered to undergraduate English majors, explain distinctive procedures that they and other influential, contemporary critics use for interpreting Shakespeare's poems and plays. Workshops, which illustrate with Shakespearean texts the practice of specific methods, follow the lectures." "Helen Vendler (Harvard) guides readers to Shakespeare's poetry by explaining and illustrating how to hear the unexpected and unobtrusive but crucial questions that sonnets pose, and by tracing the increasingly powerful perceptions that precise, informed aesthetic responses to these questions evoke. R. A. Foakes (UCLA) identifies basic cultural issues underlying traditional approaches to teaching Shakespeare's plays, especially the tragedies, and explains how poststructuralist responses to these issues lead to a reevaluation of the "Bard." Leah Marcus (U. Texas, Austin) also explains cultural issues, particularly about the "construct" that has become "Shakespeare," and introduces editorial questions about the actual textual versions offered to students, notably of Hamlet and King Lear. With emphasis on the plays in performance, John Wilders (Oxford, Middlebury) delivers a structure-oriented, acting-centered analysis of Julius Caesar and then directs, in similar fashion, a production of the first scene of A Midsummer Night's Dream. Patricia Parker (Stanford), on the other hand, follows intricate lines of wordplay through a series of deconstructions and reconstructions in The Merry Wives of Windsor and A Midsummer Night's Dream. Bringing the series to a close, Annabel Patterson (Duke) presents an explicitly issue-oriented analysis of editorial, critical, scholarly, dramatic, and cinematic interpretations of Henry V; and she offers a concluding commentary on the workshops of her colleagues."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved |
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Pagina 15
... meaning . " Foakes did not try to expose the various motivations that might direct this purpose , but he did explain one kind of influence pertinent to his American student audience . He pointed out that in the United States , during ...
... meaning . " Foakes did not try to expose the various motivations that might direct this purpose , but he did explain one kind of influence pertinent to his American student audience . He pointed out that in the United States , during ...
Pagina 17
... play which spread from concentration in specific words in one part of a scene outward to increasingly expanded as well as increasingly well defined networks of aesthetic and cultural meaning . Professor Parker focused INTRODUCTION 17.
... play which spread from concentration in specific words in one part of a scene outward to increasingly expanded as well as increasingly well defined networks of aesthetic and cultural meaning . Professor Parker focused INTRODUCTION 17.
Pagina 18
... meaning of specific diction but also has traced the cultural history that finally links women with decline , with irre- pressible utterance , and with the varied , " translated " textual versions of Shakespeare's voice itself . In ...
... meaning of specific diction but also has traced the cultural history that finally links women with decline , with irre- pressible utterance , and with the varied , " translated " textual versions of Shakespeare's voice itself . In ...
Pagina 24
... meaning ; if a Protestant Anglo - Irish poet borrowed a form from the Catholic folk , it was a gesture of homage where homage had often been refused . Finally , my eighth teacher , I. A. Richards , taught me that a single poem was worth ...
... meaning ; if a Protestant Anglo - Irish poet borrowed a form from the Catholic folk , it was a gesture of homage where homage had often been refused . Finally , my eighth teacher , I. A. Richards , taught me that a single poem was worth ...
Pagina 30
... means , " And nothing exists save what has from all eternity been destined for extinction . " The line is not narratively linear , then , but necessitarian . This is to return to the simultaneity of life and death postulated by the ...
... means , " And nothing exists save what has from all eternity been destined for extinction . " The line is not narratively linear , then , but necessitarian . This is to return to the simultaneity of life and death postulated by the ...
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Teaching with Shakespeare: Critics in the Classroom Bruce McIver,Ruth Stevenson Fragmentweergave - 1994 |
Teaching with Shakespeare: Critics in the Classroom Bruce McIver,Ruth Stevenson Geen voorbeeld beschikbaar - 1994 |
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actors adjectives audience battle of Agincourt bliss Branagh Caesar called character classroom context conveying Cordelia cozening critical cultural cultural materialists death Demetrius disestablishing doth Dover Wilson dramatic Duke edition Elizabethan English Evans extreme Falstaff father feel figure film Foakes Folio version French Germans Goneril Grammar Scene Hamlet hath haue Helen Vendler Henry Hermia interpretation Kenneth Branagh Kent kind King Lear language Latin Lear's literary London look Lord lovers lust Lysander Marcus mean Merry Wives Midsummer Night's Dream Mistress mora night Ovid Oxford play's plot poem poststructuralist Pyramus Pyramus and Thisbe Quarto version quatrain question Regan Renaissance revenge sense Shakespeare's plays Shakespeare's sonnets soliloquy sonnet speak speech stage Teaching Shakespeare textual theater thee there's Theseus thing Thisby Thisby's thou tion tradition translation University Press Vendler wall women wordplay words workshop