Offering a new perspective on two major authors, Minear explores Shakespeare's and Milton's fascination with the idea of language infiltrated by music and reproducing not so much the formal or sonic properties of music as its effects on minds and memories. She reveals that many of the qualities that seem to us characteristically 'Shakespearean' ste
Offering a new perspective on two major authors, Minear explores Shakespeare's and Milton's fascination with the idea of language infiltrated by music and reproducing not so much the formal or sonic properties of music as its effects on minds and memories. She reveals that many of the qualities that seem to us characteristically 'Shakespearean' ste
Erin Minear is Assistant Professor of English at the College of William and Mary, USA.
Inhaltsangabe
Acknowledgments Introduction Chapter 1 Creeping Music: Sounds, Surfaces, and Spheres in The Merchant of Venice Chapter 2 "We Have Nonesuch": The Haunting Melody Chapter 3 "Re-speaking Earthly Thunder": Hamlet's Sonic Phantoms Chapter 4 Playing Music: Twelfth Night and The Tempest Chapter 5 Warbling Fancies: Milton, Shakespeare, and the Musical Imagination Chapter 6 "Serpit Agens": The Song of the Blest Siren Chapter 7 "Minims of Nature": Describing Music in Paradise Lost Conclusion: Spirits of Another Sort or, Hymning and Humming
Acknowledgments Introduction Chapter 1 Creeping Music: Sounds, Surfaces, and Spheres in The Merchant of Venice Chapter 2 "We Have Nonesuch": The Haunting Melody Chapter 3 "Re-speaking Earthly Thunder": Hamlet's Sonic Phantoms Chapter 4 Playing Music: Twelfth Night and The Tempest Chapter 5 Warbling Fancies: Milton, Shakespeare, and the Musical Imagination Chapter 6 "Serpit Agens": The Song of the Blest Siren Chapter 7 "Minims of Nature": Describing Music in Paradise Lost Conclusion: Spirits of Another Sort or, Hymning and Humming
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