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. |
Im Buch
Ergebnisse 1-5 von 22
Seite ix
... looking at those objects as they are employed (or conceived) elsewhere in the play, or in other works by Shakespeare and his contemporaries or in their contemporary cultural practices in the late Tudor and early Stuart years ...
... looking at those objects as they are employed (or conceived) elsewhere in the play, or in other works by Shakespeare and his contemporaries or in their contemporary cultural practices in the late Tudor and early Stuart years ...
Seite xix
... looking instead at the synapse between the neurons, a “synapse is like a tollbooth at a bridge, but a special, friendly kind where the toll decreases the more often you cross.”)13 Thus, intervening events in the outside world of France ...
... looking instead at the synapse between the neurons, a “synapse is like a tollbooth at a bridge, but a special, friendly kind where the toll decreases the more often you cross.”)13 Thus, intervening events in the outside world of France ...
Seite 2
... looking glass that was to mirror his fallen state cannot be trusted and does not reflect the reality, but rather reflects a false if desired expectation of things. The mirror betrays Richard because it does not show him what he thought ...
... looking glass that was to mirror his fallen state cannot be trusted and does not reflect the reality, but rather reflects a false if desired expectation of things. The mirror betrays Richard because it does not show him what he thought ...
Seite 3
... looking at them, whether they see their own reflections there or not (Windsor MS, R 209). A mirror, Anthony Miller tells us, then as now “may be designed so as to distort, a series of mirrors may be arranged so as to multiply images ...
... looking at them, whether they see their own reflections there or not (Windsor MS, R 209). A mirror, Anthony Miller tells us, then as now “may be designed so as to distort, a series of mirrors may be arranged so as to multiply images ...
Seite 4
... looking-glasse In a tobacco-box or diall set That he may privately conferre with it” (Notes from Blacke Fryers, 1617). Tin mirrors, however, were cheap, everyday objects that could be bought at haberdashers' shops, open stalls, and ...
... looking-glasse In a tobacco-box or diall set That he may privately conferre with it” (Notes from Blacke Fryers, 1617). Tin mirrors, however, were cheap, everyday objects that could be bought at haberdashers' shops, open stalls, and ...
Andere Ausgaben - Alle anzeigen
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