Shakespeare's Webs: Networks of Meaning in Renaissance DramaRoutledge, 06.12.2012 - 192 Seiten In this book, renowned Renaissance drama critic Arthur F. Kinney argues that Shakespeare's method of composing plays through networks of meanings can be seen as a harbinger of today's information technology. Drawing upon hypertext and cognitive theory--areas that have for some time promised to take on more importance in the sphere of Shakespeare Studies--as well as the central metaphor of the Routledge collection The Renaissance Computer, Kinney looks in detail at four objects/images in Shakespeare's plays--mirrors, maps, clocks, and books--and explores the ways in which they make up networks of meaning within single plays and across the dramatist's body of work that anticipate in some ways the networks of meaning or "information" now possible in the computer age. |
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... Hath sorrow struck So many blows upon this face of mine And made no deeper wounds? (4.1.266–69) Like the newly retired Lear—“Who is it can tell me who I am?”—he needs to determine the loss of his majesty. This time the mirror refuses to ...
... Hath sorrow struck So many blows upon this face of mine And made no deeper wounds? (4.1.266–69) Like the newly retired Lear—“Who is it can tell me who I am?”—he needs to determine the loss of his majesty. This time the mirror refuses to ...
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... hath destroyed The shadow of your face” (4.1.282–83). Yet if this crystal glass cannot be trusted— like Sad Circumspection's “mirror encircled in this interlude, This life inconstant for to behold and see” in John Skelton's Magnyfycence ...
... hath destroyed The shadow of your face” (4.1.282–83). Yet if this crystal glass cannot be trusted— like Sad Circumspection's “mirror encircled in this interlude, This life inconstant for to behold and see” in John Skelton's Magnyfycence ...
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... Hath sorrow struck So many blows upon this face of mine And made no deeper wounds?” (4.1.267–69). Such multiple uses of the mirror, and the swiftly increasing availability of mirrors of glass and tin (or steel) meant that they could ...
... Hath sorrow struck So many blows upon this face of mine And made no deeper wounds?” (4.1.267–69). Such multiple uses of the mirror, and the swiftly increasing availability of mirrors of glass and tin (or steel) meant that they could ...
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... hath bene punished in other heretofore, whereby admonished, I trust it will be a good occasion to move you to the soner amendment. This is the chiefest end, whye it is set furth,” and he later repeats in his preface to the reader that ...
... hath bene punished in other heretofore, whereby admonished, I trust it will be a good occasion to move you to the soner amendment. This is the chiefest end, whye it is set furth,” and he later repeats in his preface to the reader that ...
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Shakespeare's Webs: Networks of Meaning in Renaissance Drama Arthur F. Kinney Eingeschränkte Leseprobe - 2004 |
Shakespeare's Webs: Networks of Meaning in Renaissance Drama Arthur F. Kinney Eingeschränkte Leseprobe - 2004 |
Shakespeare's Webs: Networks of Meaning in Renaissance Drama Arthur F. Kinney Eingeschränkte Leseprobe - 2004 |
Häufige Begriffe und Wortgruppen
according action activity become bell body brain called Cambridge Claudius clock cognitive concept continues court cultural daughter death divided early Elizabethan England English face father fear Figure give glass Goneril Hamlet hand hath Henry History hold hour human Italy John Juliet Kent kind King Lady land language Lear learning lines live London looking lord marginal mark material matter means measure memory mind mirror nature night notes objects observation Ophelia painted past patterns person play Polonius possible practice present Quoted record reference reflection rhetoric Richard Romeo rule scene seems sense Shakespeare’s soul speak stage tells thee things Thomas thou thought tion true turn University Press writes York