Particular Saints: Shakespeare's Four Antonios, Their Contexts, and Their PlaysUniversity of Delaware Press, 1997 - 250 sivua Why do characters named Antonio proliferate on the English Renaissance stage? Why are they so often paired with other characters named Sebastian? And more significantly, why are they repeatedly characterized by Shakespeare and his contemporaries as fools for love? Particular Saints draws on church history, art history, and theater history to address these questions by illustrating that Renaissance stage Antonios are a type, representing a tradition familiar to early modern audiences and exploited by Shakespeare in portraying his four major characters named Antonio. Such characters ultimately derive from the rich medieval iconography and hagiography of Saint Anthony of Egypt. How this knowledge reinforms our late-twentieth-century understanding of the four plays in question is addressed in separate chapters that range widely across each work: The Merchant of Venice, Twelfth Night, Antony and Cleopatra, and The Tempest. |
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Tulokset 1 - 3 kokonaismäärästä 34
Sivu 76
... arguments before her . Yet I would argue , first , that Portia's question is far more complicated in its significance than I have just said and , second , that the question's tonal ambiguity speaks accurately for that , running ...
... arguments before her . Yet I would argue , first , that Portia's question is far more complicated in its significance than I have just said and , second , that the question's tonal ambiguity speaks accurately for that , running ...
Sivu 77
... argue that Shylock always has the opportunity , until Portia plays the trump card of her quibble on " blood " ( 306-7 ) , to relent and soften his cruel demands of Antonio . And many have so argued . But the only authentic opportunity ...
... argue that Shylock always has the opportunity , until Portia plays the trump card of her quibble on " blood " ( 306-7 ) , to relent and soften his cruel demands of Antonio . And many have so argued . But the only authentic opportunity ...
Sivu 226
... argue , similarly , that Prospero is oblivious to the reality of danger around him when she compares him to the ... argued else- where ) , such anxiety is merely a portion of a complex mission on Vincentio's part to excite sympathetic ...
... argue , similarly , that Prospero is oblivious to the reality of danger around him when she compares him to the ... argued else- where ) , such anxiety is merely a portion of a complex mission on Vincentio's part to excite sympathetic ...
Sisältö
Acknowledgments | 9 |
Characters Named Antonio | 20 |
Antonio and Alienation in | 51 |
Tekijänoikeudet | |
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Particular Saints: Shakespeare's Four Antonios, Their Contexts, and Their Plays Cynthia Lewis Rajoitettu esikatselu - 1997 |
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acceptance action Antonio Antony and Cleopatra Antony's appear artists audience Bassanio become believe Caesar Caliban calls century characterization characters choice Christ Christian completely concerns continually course critics death desire discussion disguise Drama earlier early Elizabethan English especially example experience fact feelings Feste Feste's final fool foolish further give hand human ideal identity instance John judgment kind language late later least less lines live Malvolio meaning Medieval Merchant of Venice Michigan moral motives nature never Night Olivia once particular perhaps play play's political Portia practical present Press pride problem Prospero question reason reference remains Renaissance response Saint Anthony scene Sebastian seems sense Shakespeare Shylock speaks spiritual stage Antonios Studies suggests Tempest trial true truth turn Twelfth Twelfth Night University Viola wisdom wise folly worldly York
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Shakespeare and the Cultures of Performance Paul Edward Yachnin,Patricia Badir Rajoitettu esikatselu - 2008 |
Shakespeare and the Cultures of Performance Paul Edward Yachnin,Patricia Badir Rajoitettu esikatselu - 2008 |