Shakespeare and the Arts of Language (Oxford Shakespeare Topics) Subsequent chapters define Shakespeare's main artistic tools and illustrate their poetic and theatrical contributions: Renaissance rhetoric, imagery and metaphor, blank verse, prose speech, and wordplay.Written in a lucid, non-technical st
| TITLE | : | Shakespeare and the Arts of Language (Oxford Shakespeare Topics) |
| AUTHOR | : | |
| RATING | : | 4.62 (716 Votes) |
| ASIN | : | 0198711719 |
| FORMAT TYPE | : | Paperback |
| NUMBER of PAGES | : | 224 Pages |
| PUBLISH DATE | : | 2001-04-05 |
| GENRE | : |
Written in a lucid, non-technical style, the book starts with the story of how the English language changed throughout the sixteenth century. Subsequent chapters define Shakespeare's main artistic tools and illustrate their poetic and theatrical contributions: Renaissance rhetoric, imagery and metaphor, blank verse, prose speech, and wordplay. The conclusion surveys Shakespeare's multiple and often conflicting ideas about language, encompassing both his enthusiasm at what words can do for us and his suspicion of what words can do to us.
Editorial : "Shakespeare and the Arts of Language has its own challenges: how to write about Shakespeare's language in ways that don't seem either pedestrian or pretentious? McDonald's keen ear and shrewd eye for the specificity of wordplay, for the social relations embedded in spoken language, for figure and meter, for the power of prose, and indeed for the limits of language in the physical forms of theater are, however, more than up to the challenge."--Studies in English Literature 1500-1900"Makes a difficult subject enlivening and thought-provoking. McDonald achieves the difficult task of making linguistic dissection seem meaningful to undergraduatesexcellent."-Renaissance Quarterly"In Oxford University Press's excellent series on Shakespeare Topics, Michael Taylor in Shakespeare Criticism in the Twentieth Century and Russ McDonald in Shakespeare and the A
Very little is learned about Mr Booker (and never his first name) until the last chapter: the very last line of the book reveals much.
Taylor expertly captures the feel of the dull country town, the sense of boredom and even hopelessness. He might be the Dove named in a recently discovered prophesy or another heretic needing a fiery lesson.
The third Time's Tapestry (see EMPEROR and CONQUEROR) covers the century between William's victory and Columbus' trip. The roots have ridges and if you mix them up so that a ridge apears at the bottom of the flowing locks, you'll end up with a tangle when the ridges catch on each other.
To do all this right is not a little accomplishment. I found Slansky's "The Clothes Have No Emperor" to be an excellent (and very funny) book and I was looking forward to reading this "Little Quiz Book" based on that, but I discovered to my c
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