Drawing on the poetics of intertextuality and profiting from the more recent concepts of cultural mobility and permeability between cultures in the early modern period, this volume's tripartite structure considers the relationship between Renaissance material arts, theatre, and emblems as an integrated and intermedial genre, explores the use and function of Italian visual culture in Shakespeare's oeuvre, and questions the appropriation of the arts in the production of the drama of Shakespeare and his contemporaries. An afterword, a rich bibliography of primary and secondary literature, and a detailed Index round off the volume.…mehr
Drawing on the poetics of intertextuality and profiting from the more recent concepts of cultural mobility and permeability between cultures in the early modern period, this volume's tripartite structure considers the relationship between Renaissance material arts, theatre, and emblems as an integrated and intermedial genre, explores the use and function of Italian visual culture in Shakespeare's oeuvre, and questions the appropriation of the arts in the production of the drama of Shakespeare and his contemporaries. An afterword, a rich bibliography of primary and secondary literature, and a detailed Index round off the volume.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Michele Marrapodi is Professor of English Language and Literature, and History of English Drama, in the Faculty of Arts at the University of Palermo, Italy.
Inhaltsangabe
CONTENTS List of Figures Notes on Contributors Acknowledgments Introduction: Timon of Athens. The Theatre and the Visual Michele Marrapodi PART I: INTERMEDIALITY: VISUALITY AND DRAMA 1 Shakespeare the Emblematist Claudia Corti 2 Titus Andronicus and Renaissance Visual Culture: Contemporary Emblems of Hand and Ekphrasis Paromita Deb 3 "All Adonises must die": Shakespeare's Venus and Adonis and the Episodic Imaginary Peter Latka 4 Shakespeare's Octavia and Cleopatra: Between Stasis and Movement Olivia Coulomb 5 Both Goddess and Woman: Cleopatra and Venus Hanna Scolnicov 6 Vanishing Points and Horizons of Audience Perception in Shakespeare's Late Plays Claire T. Guéron PART II: SHAKESPEARE'S USE OF THE VISUAL 7 "Pencill'd pensiveness and colour'd sorrow": Italian Visual Arts and Ekphrastic Tension in Othello, Cymbeline, and Lucrece Michele Marrapodi 8 "Wear this jewel for me, 'tis my picture": The Miniature in Shakespeare's Work Camilla Caporicci 9 The Charm of Decapitation: Medusa in Caravaggio and Measure for Measure Rocco Coronato 10 'Those foundations which I build upon': Construction and Misconstruction in The Winter's Tale Muriel Cunin 11 Shakespeare's Genre Paintings Anthony R. Guneratne 12 Verbal Painting by Means of Dance and Portraits Necla Çikigil PART III: REPRESENTING THE VISUAL ARTS 13 Painting and Representing Gender in the Drama of Shakespeare and his Spanish Contemporaries José M. Gonzàlez 14 "Paint me in my gallery": Time, Perspective, and the Painter Addition to The Spanish Tragedy Timothy A. Turner 15 Shakespearean Iconography: The Verbal-Visual Nexus to Serpents in Nineteenth-Century Illustrated Editions Sandra Pietrini 16 Wladyslaw Czachòrski - A Polish Painter with Italian Soul and Shakespearean Vision: "Hamlet Receiving the Players" Sabina Laskowska-Hinz 17 Julius Caesar: Shakespeare and the Ruins of Rome Graham Holderness Afterword: Beginnings and Departures Stuart Sillars Bibliography Index
CONTENTS List of Figures Notes on Contributors Acknowledgments Introduction: Timon of Athens. The Theatre and the Visual Michele Marrapodi PART I: INTERMEDIALITY: VISUALITY AND DRAMA 1 Shakespeare the Emblematist Claudia Corti 2 Titus Andronicus and Renaissance Visual Culture: Contemporary Emblems of Hand and Ekphrasis Paromita Deb 3 "All Adonises must die": Shakespeare's Venus and Adonis and the Episodic Imaginary Peter Latka 4 Shakespeare's Octavia and Cleopatra: Between Stasis and Movement Olivia Coulomb 5 Both Goddess and Woman: Cleopatra and Venus Hanna Scolnicov 6 Vanishing Points and Horizons of Audience Perception in Shakespeare's Late Plays Claire T. Guéron PART II: SHAKESPEARE'S USE OF THE VISUAL 7 "Pencill'd pensiveness and colour'd sorrow": Italian Visual Arts and Ekphrastic Tension in Othello, Cymbeline, and Lucrece Michele Marrapodi 8 "Wear this jewel for me, 'tis my picture": The Miniature in Shakespeare's Work Camilla Caporicci 9 The Charm of Decapitation: Medusa in Caravaggio and Measure for Measure Rocco Coronato 10 'Those foundations which I build upon': Construction and Misconstruction in The Winter's Tale Muriel Cunin 11 Shakespeare's Genre Paintings Anthony R. Guneratne 12 Verbal Painting by Means of Dance and Portraits Necla Çikigil PART III: REPRESENTING THE VISUAL ARTS 13 Painting and Representing Gender in the Drama of Shakespeare and his Spanish Contemporaries José M. Gonzàlez 14 "Paint me in my gallery": Time, Perspective, and the Painter Addition to The Spanish Tragedy Timothy A. Turner 15 Shakespearean Iconography: The Verbal-Visual Nexus to Serpents in Nineteenth-Century Illustrated Editions Sandra Pietrini 16 Wladyslaw Czachòrski - A Polish Painter with Italian Soul and Shakespearean Vision: "Hamlet Receiving the Players" Sabina Laskowska-Hinz 17 Julius Caesar: Shakespeare and the Ruins of Rome Graham Holderness Afterword: Beginnings and Departures Stuart Sillars Bibliography Index
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