Impressive Shakespeare reassesses Shakespeare's relationship with "print culture" in light of his plays' engagement with the language and material culture of three interrelated "impressing technologies": wax sealing, coining, and typographic printing.
Impressive Shakespeare reassesses Shakespeare's relationship with "print culture" in light of his plays' engagement with the language and material culture of three interrelated "impressing technologies": wax sealing, coining, and typographic printing.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Harry Newman is Lecturer in Shakespeare and Early Modern Literature at Royal Holloway, University of London.
Inhaltsangabe
List of Figures Acknowledgements A Note on the Text List of Abbreviations Introduction: The Stamp of the Bard 'My dear Keats': Impressions of 'WS' Metaphors and Material Readings The Structure of this Book 1. Technology, Language, Physiology Sealing, Coining, Printing: Interrelated Technologies The Language of Impression and Early Modern Metaphor Theory Early Modern Physiology: Imprinting and Imprinted Subjects 2. '[T]he stamp of Martius': Commoditised Character and the Technology of Theatrical Impression in Coriolanus Valuing the Imprint of 'Character': Theatre, Charactery, Criticism Translating Plutarch, Coining Coriolanus Metatheatrical Impressions: Burbage's 'Painting' and the Technology of Wounds Sealing Knowledge: The Theatrical Contract and the Imprint of Silence 3. '[A] form in wax, / By him imprinted': Sealing and Poetics in A Midsummer Night's Dream Shakespeare's 'special impress': Materialising and Gendering Dream's Poetry Seals in Early Modern Material Culture, Rhetoric and Drama The 'transfigured' Audience: Signs and Seals of Poetic Transformation in Dream 4. '[S]tamps that are forbid': Measure for Measure, Counterfeit Coinage, and the Politics of Value Counterfeiting in the Name of the King: Jacobean Coinage and the King's Men Metatheatrical Counterfeiting: The Duke's Economy of Value Adapting 'old-coined gold': Canonical Value and the Stamp of Thomas Middleton 5. The Printer's Tale: Books, Children, and the Prefatory Construction of Shakespearean Authorship The Infant-Text and the Prefatory 'Shake-scene' Dramatic Paratexts, Theatricality and the 'paper stage' '[T]he fathers face': Prefacing Shakespeare's Book, 1623 The Printer's Tale Retold: Paternal Likeness in The Winter's Tale and the Preliminaries of the First Folio Conclusion Impressions Past, Present and Future: Shakespearean Drama in the Age of Mechanical Reproduction Shakespeare and the 'print of goodness': The Ethics of the Imprint Works Cited Index
List of Figures Acknowledgements A Note on the Text List of Abbreviations Introduction: The Stamp of the Bard 'My dear Keats': Impressions of 'WS' Metaphors and Material Readings The Structure of this Book 1. Technology, Language, Physiology Sealing, Coining, Printing: Interrelated Technologies The Language of Impression and Early Modern Metaphor Theory Early Modern Physiology: Imprinting and Imprinted Subjects 2. '[T]he stamp of Martius': Commoditised Character and the Technology of Theatrical Impression in Coriolanus Valuing the Imprint of 'Character': Theatre, Charactery, Criticism Translating Plutarch, Coining Coriolanus Metatheatrical Impressions: Burbage's 'Painting' and the Technology of Wounds Sealing Knowledge: The Theatrical Contract and the Imprint of Silence 3. '[A] form in wax, / By him imprinted': Sealing and Poetics in A Midsummer Night's Dream Shakespeare's 'special impress': Materialising and Gendering Dream's Poetry Seals in Early Modern Material Culture, Rhetoric and Drama The 'transfigured' Audience: Signs and Seals of Poetic Transformation in Dream 4. '[S]tamps that are forbid': Measure for Measure, Counterfeit Coinage, and the Politics of Value Counterfeiting in the Name of the King: Jacobean Coinage and the King's Men Metatheatrical Counterfeiting: The Duke's Economy of Value Adapting 'old-coined gold': Canonical Value and the Stamp of Thomas Middleton 5. The Printer's Tale: Books, Children, and the Prefatory Construction of Shakespearean Authorship The Infant-Text and the Prefatory 'Shake-scene' Dramatic Paratexts, Theatricality and the 'paper stage' '[T]he fathers face': Prefacing Shakespeare's Book, 1623 The Printer's Tale Retold: Paternal Likeness in The Winter's Tale and the Preliminaries of the First Folio Conclusion Impressions Past, Present and Future: Shakespearean Drama in the Age of Mechanical Reproduction Shakespeare and the 'print of goodness': The Ethics of the Imprint Works Cited Index
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