Michael W Shurgot

Shakespeare's Sense of Character

On the Page and From the Stage
Herausgeber: Ko, Yu Jin

• Gebundenes Buch

Produktbeschreibung

Making a unique intervention in an incipient but powerful resurgence of academic interest in character-based approaches to Shakespeare, this book brings scholars and theatre practitioners together to rethink why and how character continues to matter. Contributors seek in particular to expand our notions of what Shakespearean character is, and to extend the range of critical vocabularies that character criticism can work in.

Produktdetails

• Verlag: Taylor & Francis Ltd (Sales)
• Seitenzahl: 280
• Erscheinungstermin: 18. Dezember 2012
• Englisch
• Abmessung: 234mm x 156mm x 18mm
• Gewicht: 572g
• ISBN-13: 9781409440666
• ISBN-10: 1409440664
• Artikelnr.: 44708492

Autorenporträt

Yu Jin Ko, is Professor of English at Wellesley College, USA. Michael W. Shurgot is Professor of Humanities at South Puget Sound Community College, USA.

Inhaltsangabe

Introduction, Yu Jin Ko; Part 1 Shakespearean Persons; Chapter 1 How Dark
Was It in That Room? Performing a Scene Shakespeare Never Wrote, Michael
Bristol; Chapter 2 Shakespearean Characters and Early Modern Subjectivity:
The Case of King Lear, Bruce W. Young; Chapter 3 What Makes Someone a
Character in Shakespeare?, William Flesch; Chapter 4 Wopsle's Revenge, or,
Reading Hamlet as Character in Great Expectations 1 Special thanks to Mark
Bayer and Gretchen Minton, the directors of the 2006 Shakespeare
Association of America seminar on "Shakespeare's Literary Afterlives" for
providing an occasion for the original draft of this essay and for their
subsequent suggestions. Thanks also to Yu Jin Ko, Edward Tayler, and Martha
Woodruff for offering encouragement and suggestions., James E. Berg; Part 2
Character in Action; Chapter 5 Historicizing Spontaneity: The Illusion of
the First Time of "The Illusion of the First Time", Cary M. Mazer; Chapter
6 (Re:)Historicizing Spontaneity: Original Practices, Stanislavski, and
Characterization, Tiffany Stern; Chapter 7 Retracing Antonio: In Search of
the Merchant of Venice, Diego Arciniegas; Chapter 8 Letting Unpleasantness
Lie: Counter-Intuition and Character in The Merchant of Venice, Brett
Gamboa; Chapter 9 Iago: In Following Him I Follow But Myself, Dan Donohue;
Chapter 10 "I lay with Cassio lately": Iago's Fantasy, the Actor and
Audience Response to Othello in 3.3, Shurgot Michael W.; Part 3 Beyond
Naturalism: Then and Now; Chapter 11 Just Do It: Theory and Practice in
Acting, Eunice Roberts; Chapter 12 Playing Sodomites: Gender and Protean
Character in As You Like It, Lina Perkins Wilder; Chapter 13 "Stops" in the
Name of Love: Playing Typological Iago, Travis Curtright; Chapter 14 Henry
V 's Character Conflict, James Wells;