Portraits in Early Modern English Drama studies the complex web of interconnections that grows out of the presentation of portraits as props in early modern English drama.
Portraits in Early Modern English Drama studies the complex web of interconnections that grows out of the presentation of portraits as props in early modern English drama.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Emanuel Stelzer is an adjunct lecturer at the University of Bergamo, after earning a PhD there in cotutelle at Justus-Liebig-Universität Gießen and working as a postdoctoral researcher at Università della Valle d'Aosta. His publications have appeared in Critical Survey, Notes and Queries, and Early Theatre.
Inhaltsangabe
List of figures Acknowledgements Introduction Part I The meanings of staged portraits: theoretical and historical perspectives Chapter 1. Interpreting portraits: semiotic approaches Chapter 2. Early modern visualities Chapter 3. Early modern English portraiture: objects and poetics Chapter 4. Portraits on stage in early modern England Part II. Case studies: portraits in action Chapter 5. "Closet scenes": The case of Hamlet's First Quarto (1603) Chapter 6. Tragic limning in John Webster's The White Devil (1612) Chapter 7. Philip Massinger's The Picture (1630): Impregnable women and pregnable pictures Chapter 8. Shadow vision in William Sampson's The Vow-Breaker (1636) Chapter 9. The drama of Platonic gazing in Caroline Courtly play-texts: William Cartwright's The Siege (1651) Conclusion Appendix Index
List of figures Acknowledgements Introduction Part I The meanings of staged portraits: theoretical and historical perspectives Chapter 1. Interpreting portraits: semiotic approaches Chapter 2. Early modern visualities Chapter 3. Early modern English portraiture: objects and poetics Chapter 4. Portraits on stage in early modern England Part II. Case studies: portraits in action Chapter 5. "Closet scenes": The case of Hamlet's First Quarto (1603) Chapter 6. Tragic limning in John Webster's The White Devil (1612) Chapter 7. Philip Massinger's The Picture (1630): Impregnable women and pregnable pictures Chapter 8. Shadow vision in William Sampson's The Vow-Breaker (1636) Chapter 9. The drama of Platonic gazing in Caroline Courtly play-texts: William Cartwright's The Siege (1651) Conclusion Appendix Index
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