Particular Saints: Shakespeare's Four Antonios, Their Contexts, and Their PlaysUniversity of Delaware Press, 1997 - 250 Seiten Why do characters named Antonio proliferate on the English Renaissance stage? Why are they so often paired with other characters named Sebastian? And more significantly, why are they repeatedly characterized by Shakespeare and his contemporaries as fools for love? Particular Saints draws on church history, art history, and theater history to address these questions by illustrating that Renaissance stage Antonios are a type, representing a tradition familiar to early modern audiences and exploited by Shakespeare in portraying his four major characters named Antonio. Such characters ultimately derive from the rich medieval iconography and hagiography of Saint Anthony of Egypt. How this knowledge reinforms our late-twentieth-century understanding of the four plays in question is addressed in separate chapters that range widely across each work: The Merchant of Venice, Twelfth Night, Antony and Cleopatra, and The Tempest. |
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... Antony falls . But countering this , and complicating our response , is that as Antony falls in that context , he is ... Cleopatra and the audience's sympathetic identification with them . Fairly representative of these critics is Rosalie ...
... Antony falls . But countering this , and complicating our response , is that as Antony falls in that context , he is ... Cleopatra and the audience's sympathetic identification with them . Fairly representative of these critics is Rosalie ...
Seite 214
... Antony and Cleopatra , ” Renaissance Papers 1995 : 93–107 ) . 10. Although M. R. Ridley , editor of the New Arden Antony and Cleopatra ( New York : Methuen , 1981 ) , believes that this line is meant for Menas , his reasoning seems ...
... Antony and Cleopatra , ” Renaissance Papers 1995 : 93–107 ) . 10. Although M. R. Ridley , editor of the New Arden Antony and Cleopatra ( New York : Methuen , 1981 ) , believes that this line is meant for Menas , his reasoning seems ...
Seite 243
... Anthony Triptych , 36 , 38 Caesar , Julius , 31-32 Caesar , Octavius ( Antony and Cleopatra ) , 117–24 , 126–28 , 133–40 , 148 , 153 , 189 , 191. See also Antony and Cleopatra Caliban , 17 , 155 , 160–65 , 167-68 , 172-73 , 175 , 177 ...
... Anthony Triptych , 36 , 38 Caesar , Julius , 31-32 Caesar , Octavius ( Antony and Cleopatra ) , 117–24 , 126–28 , 133–40 , 148 , 153 , 189 , 191. See also Antony and Cleopatra Caliban , 17 , 155 , 160–65 , 167-68 , 172-73 , 175 , 177 ...
Inhalt
Acknowledgments | 9 |
Characters Named Antonio | 20 |
Antonio and Alienation in | 51 |
Urheberrecht | |
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Particular Saints: Shakespeare's Four Antonios, Their Contexts, and Their Plays Cynthia Lewis Eingeschränkte Leseprobe - 1997 |
Häufige Begriffe und Wortgruppen
alien ambiguity Anthony of Egypt Antonio and Sebastian Antony and Cleopatra Antony's appear argue Ariel artists audience audience's Bassanio behavior Caesar Caliban characterization characters charity choice Christ Christian context Corballis critics demons disguise Dolabella duke earlier earthly Elizabethan emblem English Renaissance Enobarbus Enobarbus's Epiphany Essays example feelings Ferdinand Feste Feste's final foolish Gratiano Grünewald's hagiography human iconography ideal identity instance irony Isenheim Altarpiece judgment language Malvolio Mark Antony meaning Medieval Merchant of Venice mercy Miranda Montaigne moral More's motives named Antonio nature Olivia Orsino paradoxically play's Pompey Portia pride problem Prospero question Renaissance Drama Renaissance stage Antonios revenge Saint Anthony Saint Play Saint Sebastian saintly seems sense Shakespeare Quarterly Shylock sixteenth century spiritual suggests Tempest temptation tempted theatrical thou tion trial scene truth Twelfth Night University Press Viola Viola/Cesario Virgin virtue William Shakespeare wisdom wise folly wise fool words worldly York
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