Shakespeare Survey 70 Index

Total Page:16

File Type:pdf, Size:1020Kb

Shakespeare Survey 70 Index Cambridge University Press 978-1-108-41744-0 — Shakespeare Survey 70 Volume 70 Index More Information SHAKESPEARE SURVEY 70 INDEX Aaron, Catrin 307 Aronson, Arnold 365–6 Barret, J. K. 230n7 Abeysekera, Hiran 302 Ashford, Rob 311–12, 337, 338 Barrett, James 150n14, 152n21 Aboab, Rabbi Samuel ben Abraham 74–5 Assmann, Jan 259n2 Barritt, Ian 313 Abraham, F. Murray 77 Astington, John 189, 192–3, 194, 196 Barrow, Isaac 127 Ackroyd, Peter 64 Atim, Sheila 309, 310 Barrymore, John 370 Adorno, Theodor 241, 247 Aubrey, John 59 Barstow, Josephine 7 Aebischer, Pascal 13, 14 Auden, W. H. 200, 204n29 Bartels, Emily C. 153n23 Aeschylus 150–3, 387 Augustine of Hippo 222 Bartholomeus Anglicus 207–8 Aesop 165 Ayckbourn, Alan 369 Bartolomé Benito, Fernando 97n38 Agamben, Giorgio 213, 272n1, 273n9, Ayola, Rakie 318–19 Barton, Chris 331 275n32 Ayres, Fraser 319 Barton, John 3, 55n18, 339 Ahmed, Sara 231n15 Basauri, Aitor 324Illus.30, 324 Akinade, Fisayo 291 Baddeley, Angela 3 Baskin, J. R. 281n59 Akitaya, Kazunori 356 Badger, Richard 42 Bassett, Lytta 224–5n31 Alberts, Jada 320 Badiou, Alain 272–3n1–5, 275n33, Bassi, Gino 70 Albina, Nadia 296 276 Bassi, Shaul 67–78, 79, 80, 82n5, 241–2, Aldridge, Ira 375–6 Badir, Patricia 137n4, 279n50 246n29, 386 Alexander, Bill 5, 361 Baglow, Jessica 288 Bate, Jonathan 46n19, 129n38, 146n1, 154, Alexandra, Princess, the Hon. Lady Bagnall, Nick 296–7, 332 167n9, 238n50, 239n52 Ogilvy 56 Bahl, Ankur 293–4 Bateman, Tom 312, 338 Allam, Roger 290 Bailey, Thomas 334 Battista Guarini, Giovanni 184n8 Allen, Megan 228–39n53, 388 Baker, David J. 357 Baxter, Hilary 366 Alleyn, Edward 89, 343 Baker, Gideon 272–3n5 Baynes, Thomas Spencer 136n3 Almereyda, Michael 368, 369 Baker, Naomi 272–86, 389 Beal, Peter 116n7 Al-Shaater, Yaz 336 Baker, Sir Richard 195, 196 Beale, Simon Russell 306Illus.24, 306–7 Anderson, Anthony 129n35 Bakewell, Michael 3 Beamish, Jamie 333 Anderson, Benedict 343 Bakhtin, Mikhail 268n37, 348–9, 368 Beamish, Sally 56, Andreini, Isabella 183, 184 Baldwin, T. W. 136n3, 194n25 Bearman, Robert 61, 63 Anouka, Jade 309 Baldy, Colin 333 Beauman, Sally 46 Antas, Delmiro 107n57 Ball, Robert F. 335 Beaumont, Francis 100, 159n17, 349 Aquinas, Thomas 178n18 Bancroft, Richard, Archbishop of Beaurline, L. A. 126 Arbus, Arin 362 Canterbury 286 Beck, Peter 326 Archer, William 42, 45, 46–7 Bani, Jimi 320 Becket, Thomas 176 Arellano, Ignacio 108n61, 108n60, 111n67 Bannister, Joe 315 Beckwith, Sarah 224, 225–6 Arendt, Hannah 241, 246 Bannon, Cynthia J. 237n48, 237n46 Bell, John 381 Aristotle 215n12 Bannon, Tia 287–8 Benjamin, Walter 241 Armani, Virginia 183 Barber, Charles 207 Bennett, Edward 330, 333 Armin, Robert 35, 159n17, 161–2n18 Barber, Emily 288, 326 Benson, Frank 1–3 Armitage, Simon 340 Bardsley, Sandy 126n24 Beolco, Angelo 82 Armstrong, Edward 207 Bargagli, Girolamo 184n8 Berger, Peter 219–20, 220n7, 223, 225–6 Armstrong, Gareth 337 Barker, Harley Granville 42, 45, 46 Berger, Thomas Leland 261n13, 261n9, Armstrong, N. 268n37 Baron, Salo 70–1 261–8n9–36, 262n13, 266n27, Armstrong, Simon 288 Barón-Nusbaum, Brandin 366 269n39 Arne, Thomas 51, 56 Barr, Gordon 330, 331, 334 Bergmann, Fredrick Louis 51n2 Arnold, Matthew 154 Barrass, Martin 338 Berkeley, Sir Thomas 36 390 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-41744-0 — Shakespeare Survey 70 Volume 70 Index More Information SHAKESPEARE SURVEY 70 INDEX Berry, Cicely 362–3 Brooke, Nicholas 342 Carroll, William C. 137n4, 219n4, Berry, Martin 332 Brooks, Harold F. 36n3 221n11, 223n21, 223n18, 224 Bertani, Bruna 77n27 Brotherhead, Leah 297 Carson, Christie 48n30 Berthoud, Jacques 229n5, 230n8, Brower, Reuben Arthur 238n50 Carter, Sarah 278n45 230, 237n45 Brown, Arthur 116n8 Cartwright, Kent 72 Bess of Hardwick (Elizabeth Brown, Cressida 330 Cartwright, William 120 Talbot, Countess of Brown, J. Ross 53, 54, 54Illus.1 Castillo Solórzano, Alonso del 108n60, Shrewsbury) 173, 244 Brown, John Russell 55, 84n9, 365–6, 370 108, 110, 111 Betterton, Thomas Patrick 348 Brown, Mark 298n4 Castro, Guillén de 90–8, 386 Betty, Henry 53 Brown, Pamela Allen 182–7, 387 Cathey, Reginald E. 73 Bevan, Gillian 301 Browne, Thomas 215, 343 Cavecchi, Mariacristina 358 Bevington, David M. 125n15, 375, 384 Bruerton, Courtney 96 Caxton, William 174, 176, 177 Bhat, Alex 307 Brugnera, Andrea 56Illus.6, 86 Cefalu, Paul 273 Bhebhe, Nandi 294 Bruun, Sybille 364 Céline, Louis-Ferdinand 24 Biberman, Matthew 72n18 Buc, Sir George 115 Cerasano, S. P. 227n40 Biesta, Gert J. J. 135n1 Buchanan, Judith 367 Cervantes, Miguel de 98n40 Billing, Christian M. 365 Buckhurst, Bill 333 Chakrabarti, Lolita 13, 18, 338 Bishop, Tom 194n22 Buckle, Richard 55–6 Chamberlain, John 193–4 Blake, Erin 358 Buckley, Jessie 311 Chambers, David 69n8, 69n7 Blake, Norman 223n18 Buffong, Michael 318–19, 318Illus.28 Chambers, E. K. 59–60, 280n56 Blayney, Peter W. M. 119 Bullough, Geoffrey 180n34, 259 Chambers, Robert 213n2 Blessed, Brian 329 Bulman, James C. 376–8, 384 Chapman, George 155, 157n13, Block, Giles 362–3 Bulwer, John 193n17, 346, 347 158n14, 159n17, 161–2n18, Blyth, Benjamin 329, 330 Buñuel, Luis 369 162n18, 163n20, 164, 184n8, Boas, F. S. 120n22 Burbage, Richard 32, 59, 120n22 344 Boccaccio, Giovanni 214, 269n39 Burgess, Anthony 60–1 Charles I, King of Great Britain 240 Bockley, Seth 328 Burke, Peter 269 Charnes, Linda 71–2 Bodley, Thomas 354 Burns, Edward 191–2 Charney, Maurice 228n1 Boehrer, Bruce 260n6 Burroughs, William 364 Chaucer, Geoffrey 176, 267 Bolens, Guillemette 195 Burt, Richard 369–70 Chaudhuri, Supriya 348 Bolton, Robert 284 Burton, Robert 266n30 Chazelle, Damien 247 Bond, Imogen 330 Butler, Martin 240n3 Chernaik, Warren 228 Booth, Mark W. 203 Buzwell, Greg 367 Chettle, Henry 101–4, 158n14 Booth, Stephen 142n22 Byrne, Caroline 294–5, 295Illus.21 Chitty, Alison 366 Bosley, Vivien 132n51, 132 Cicero 193, 194, 196, 254, 349 Bourdieu, Pierre 144n30 Cahill, Patricia 153n23 Clachan, Lizzie 314, 315–16 Bourne, Claire 139n11 Calabi, Donatella 71 Claramonte, Andrés de 106, 107Illus.7, Bourus, Terri 150n12, 159 Calarco, Joe 335 108, 109, 110Illus.9, 111, 112 Bowers, Fredson 100, 119, 261n10 Calderón de la Barca, Pedro 91, Clare, Janet 43n11 Boyd, Brian 149n9 105n40, 107, 108n61, 109Illus.8, Clark, Morfydd 311 Boyd, Michael 8–9 111, 112 Clarke, Mary Cowden 25 Bradley, A. C. 374 Caldwell, John 202n11 Clarke, Ruby 336 Bral, Grzegorz 329 Calimani, Dario 71n17 Clavell, John 101–4 Branagh, Kenneth 4, 13, 311–13, Calimani, Riccardo 67n2, 70 Clercq, René de 43 337, 345, 368 Callaghan, Dympna 185 Clifford, Anne, Countess Brandl, Alois 118n13 Calvin, John 224, 225, 284 of Dorset, Pembroke Braunmuller, A. R. 152n21 Calvo, Clara 41n2, 51n3, 55n18, 55n18, and Montgomery 168 Brennan, Joseph Xavier 221n10 347–8, 355 Clifton, Alex 334 Breton, Nicholas 260–1, 269–70, 389 Campbell, Wilfred 43 Clubb, Louise George 184n8 Breton, Stanislas 276n36, 276 Caneda Cabrera, Javier M. Teresa 223n18 Clune, Jackie 310 Bridges-Adams, William 46 Canterna, Advienne 336 Clyde, James 301 Bright, Timothy 168 Cantor, P. A. 228n1 Coates, Simon 321–2 Brimson-Lewis, Stephen 57 Capell, Edward 377 Cochran, William G. 155n10 Brissenden, Alan 267n32 Cappa, Felice 77n27 Coffman, Elizabeth 77n27 Bristol, Michael 216, 348 Cardanus, Fascitus (Fascizo Cardano) 178 Cohen, Walter 371, 384 Britten, Benjamin 7, 337 Carey, Elizabeth, Lady Berkeley Coldiron, A. E. B. 207n3 Britton, Jasper 328, (d.635) 36 Coleridge, Samuel Taylor 376 Broadhead, H. D. 150n15 Carey, Sir George 36 Collier, J. P. 59 Brock, Susan 37n5, 52n10 Carlton, Bob 336 Collington, Philip D. 281n61 Brook, Peter 5–6, 10, 13, 15, 367–8 Carney, Jo Eldridge 230n10 Collins, Stephen 337 Brooke, Arthur 241, 244 Carrier, Roch 132 Colls, Kevin 63, 65n6 391 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-41744-0 — Shakespeare Survey 70 Volume 70 Index More Information SHAKESPEARE SURVEY 70 INDEX Comensoli, Viviana 182n1 Dacre, James 329 Dionisotti, Paola 328 Conkie, Rob 366–7, 370 Dahlgren, Marta 223n18 DiPietro, Cary 100n9 Conlin, Kathleen 362 Daniell, David 274n16 Distiller, Natasha 43n11 Connaughton, Nick 332 Danson, Lawrence 202, 204n27 Dixon, Joe 306, 307 Conroy, Amy 295Illus.21 Darwin, Charles 213–15, 218 Djulibing, Frances 320 Constable, Neil 298 databases, selected Dobson, Michael 50–7, 358, 386 Coodin, Sara 348 DICAT (Diccionario biográfico Doel, Imogen 294, 295Illus.21 Cook, Deborah 241n9 de actores del teatro clásico Donadio, Rachel 77n26 Cooke, Dominic 172n35 español, University Donne, John 343, 353 Cooke, John 158n14, 159n17, 161–2n18 of Valencia) 90 Donnellan, Declan 331, 338 Cookson, Sally 334 Henslowe-Alleyn Digitisation Donnelly, Ignatius 378 Coolidge, John S. 274n16 Project 89 Doona, Liam 365 Cooney, James 302 Manos (formerly Manos teatrales, of Doran, Gregory 2–9, 302, 303–4, Coonrod, Karin 67–78, 80, 82n6, 82n6, Biblioteca Nacional de España) 305–7, 306Illus.24, 328, 361, 83, 84n8, 85, 87 90, 91, 96, 99n5, 105n41 363, 385 Cooper, Gary 297 Touchstone 326 Doran, Susan 231n14 Cooper, Helen 167n10, 174–81, 387 Davenant, Sir William 36 Dorland, Celia 334 Cooper, Keegan 146–53, 387 Dávidházi, Péter 52n7 Douglas, Gavin 231n12 Cooper, Thomas 365 Davies, Douglas Brooks 244n26 Douglas, Mary 350 Cope, Sir Walter 198 Davies, Jo 336 Dowd, Michelle M. 170n30 Cope, Wendy 340 Davies, Oliver Ford 1–2 Downame, John 126n26 Cord, Anthony 330 Davis, Gavin 327 Drake, Hannah 330 Cormack, Bradin 241n6, 249n3 Davis, Robert C. 67n2 Dromgoole, Dominic 63, 287–8, 290, 331, Cornwell, Charlotte 307 Dawson, Anthony B. 281n61 333–4 Corrigan, James 304–5 Day, John 158n14, 159n17, 161–2n18 Duffin, Aoife 202n8, 203n20, 204n32, Coryat(e), Thomas 67, 73–4, 142, 143, Day, Martin 284, 285 205n37, 205n37, 205, 294, 183–4 de Grazia, Margreta 58–66n9, 295Illus.21 Costigan, George 326 100n7, 386 Duffin, Ross 200n2, 201 Cottegnies, Line 372 De Jong, Ian 367 Duffy, Carol Ann 56, 66 Cottis, David 337 Deelman, Christian 51n2 Duffy, Eamon 174n1 Cousins, Mark 285n85 Dekker, Thomas 147, 158n14, 159n17, Dunbar, Karen 310 Coveney, Alan 313 161n18, 161–2n18, 162n18, Duncan-Jones, Katherine 62 Cox, John D.
Recommended publications
  • Bibliography for the Study of Shakespeare on Film in Asia and Hollywood
    CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 6 (2004) Issue 1 Article 13 Bibliography for the Study of Shakespeare on Film in Asia and Hollywood Lucian Ghita Purdue University Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the Comparative Literature Commons, and the Critical and Cultural Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Ghita, Lucian. "Bibliography for the Study of Shakespeare on Film in Asia and Hollywood." CLCWeb: Comparative Literature and Culture 6.1 (2004): <https://doi.org/10.7771/1481-4374.1216> The above text, published by Purdue University Press ©Purdue University, has been downloaded 2531 times as of 11/ 07/19.
    [Show full text]
  • The Tempest -THEATRICS
    !1 THE TEMPEST by William Shakespeare Edited by Tiffany Antone for The@trics Theatre Characters ALONSO, king of Naples SEBASTIAN, his brother PROSPERO, the right duke of Milan ANTONIO, his brother, the usurping duke of Milan FERDINAND, son to the king of Naples GONZALO, an honest old Counsellor CALIBAN, a savage and deformed Slave BIG TRINCULO & LITTLE TRINCULO, Jesters STEPHANO, a drunken Butler MIRANDA, daughter to Prospero ARIELS - five elemental spirits: FIRE, AIR, WATER, EARTH, and ETHER Master of a Ship, Boatswain, and Mariners ACT 1, SCENE 1 - On a ship at sea: a tempestuous noise of thunder and lightning heard. Enter a Master and a Boatswain MASTER Boatswain! BOATSWAIN Here, master: what cheer? MASTER Good, speak to the mariners: fall to't, yarely, or we run ourselves aground: bestir, bestir. Exit Enter Mariners BOATSWAIN Heigh, my hearts! cheerly, cheerly, my hearts! yare, yare! Take in the topsail. Tend to the master's whistle. Blow, till thou burst thy wind, if room enough! Enter ALONSO, SEBASTIAN, ANTONIO, FERDINAND, and GONZALO ALONSO Good boatswain, have care. Where's the master? !2 BOATSWAIN I pray now, keep below. ANTONIO Where is the master, boatswain? BOATSWAIN You mar our labour: keep your cabins: you do assist the storm. GONZALO Nay, good, be patient. BOATSWAIN. When the sea is. Hence! What cares these roarers for the name of king? To cabin: silence! trouble us not. GONZALO Good, yet remember whom thou hast aboard. BOATSWAIN. None that I more love than myself. You are a counsellor; if you can command these elements to silence, and work the peace of the present, we will not hand a rope more; use your authority: if you cannot, give thanks you have lived so long, and make yourself ready in your cabin for the mischance of the hour, if it so hap.
    [Show full text]
  • Characters from the Tempest – from the Site “No Fear Shakespeare”
    Characters from The Tempest – From the site “No Fear Shakespeare” Prospero The play’s protagonist and Miranda’s father. Twelve years before the events of the play, Prospero was the duke of Milan. His brother, Antonio, in concert with Alonso, king of Naples, usurped him, forcing him to flee in a boat with his daughter. The honest lord Gonzalo aided Prospero in his escape. Prospero has spent his twelve years on an island refining the magic that gives him the power he needs to punish and reconcile with his enemies. Miranda Prospero’s daughter, whom he brought with him to the island when she was still a small child. Miranda has never seen any men other than her father and Caliban, although she dimly remembers being cared for by female servants as an infant. Because she has been sealed off from the world for so long, Miranda’s perceptions of other people tend to be naïve and non- judgmental. She is compassionate, generous, and loyal to her father. Ariel Prospero’s spirit helper, a powerful supernatural being whom Prospero controls completely. Rescued by Prospero from a long imprisonment (within a tree) at the hands of the witch Sycorax, Ariel is Prospero’s servant until Prospero decides to release him. He is mischievous and ubiquitous, able to traverse the length of the island in an instant and change shapes at will. Ariel carries out virtually every task Prospero needs accomplished in the play. Caliban Another of Prospero’s servants. Caliban, the son of the now-deceased witch Sycorax, acquainted Prospero with the island when Prospero arrived.
    [Show full text]
  • Folsom Telegraph
    THURSDAY, FEBRUARY 20, 2020 Kitchen & Bath Top Five Newspaper Remodeling CNPA California Journalism Awards Painting THE FOLSOM Cabinets Counters Flooring Remodeling Jobs completed before April 1, 2020 * only while openings last * not to be combined with any other offer Your community news by a dam site since 1856 Serving the communities of Folsom and El Dorado Hills 916.774.6416 www.PerrymanPainting.com FOLSOMTELEGRAPH.COM Lic # 948889 (C33 & B) Exoneration, new arrest in 1985 EDH murder case BY BILL SULLIVAN The 1985 case went “This is the first case in occurred on July 7, 1985. OF THE FOLSOM TELEGRAPH unsolved for 14 years before California and only the For all these years, investigators said DNA second in this country Davis has been behind Since his conviction, evidence and an incrim- where investigative genetic bars awaiting retrial, for Ricky Davis continued inating statement by a genealogy has not only led a crime he didn’t commit. to plead his innocence resident of the home tied to the freeing on an individ- El Dorado Superior Court in an El Dorado Hills Davis to the slaying back in ual from prison for a crime Judge Kenneth Mele- murder that took place 35 November of 1999. He was he did not commit, but the kian ended that when he years ago. Last Thursday, then sentenced in 2005 to identification of the true threw out his second-de- 54-year-old Davis walked 16 years-to-life, accused of source,” said Sacramento gree murder conviction in out of El Dorado County stabbing Hylton 29 times County District Attorney the emotional court hear- Superior Court a free man in what was described as a Anne Marie Schubert.
    [Show full text]
  • “Savage and Deformed”: Stigma As Drama in the Tempest Jeffrey R
    “Savage and Deformed”: Stigma as Drama in The Tempest Jeffrey R. Wilson The dramatis personae of The Tempest casts Caliban as “asavageand deformed slave.”1 Since the mid-twentieth century, critics have scrutinized Caliban’s status as a “slave,” developing a riveting post-colonial reading of the play, but I want to address the pairing of “savage and deformed.”2 If not Shakespeare’s own mixture of moral and corporeal abominations, “savage and deformed” is the first editorial comment on Caliban, the “and” here Stigmatized as such, Caliban’s body never comes to us .”ס“ working as an uninterpreted. It is always already laden with meaning. But what, if we try to strip away meaning from fact, does Caliban actually look like? The ambiguous and therefore amorphous nature of Caliban’s deformity has been a perennial problem in both dramaturgical and critical studies of The Tempest at least since George Steevens’s edition of the play (1793), acutely since Alden and Virginia Vaughan’s Shakespeare’s Caliban: A Cultural His- tory (1993), and enduringly in recent readings by Paul Franssen, Julia Lup- ton, and Mark Burnett.3 Of all the “deformed” images that actors, artists, and critics have assigned to Caliban, four stand out as the most popular: the devil, the monster, the humanoid, and the racial other. First, thanks to Prospero’s yarn of a “demi-devil” (5.1.272) or a “born devil” (4.1.188) that was “got by the devil himself” (1.2.319), early critics like John Dryden and Joseph War- ton envisioned a demonic Caliban.4 In a second set of images, the reverbera- tions of “monster” in The Tempest have led writers and artists to envision Caliban as one of three prodigies: an earth creature, a fish-like thing, or an animal-headed man.
    [Show full text]
  • Ladies and Gentlemen ... the Circus I
    6 REVIEW February 12, 2019 Ladies and gentlemen ... the circus is back in town No circus like Cirque du Soleil to hold its breath while watching one of the Cirque du Soleil, in its big blue and yellow goddesses as she balanced 13 palm leaf ribs. tent, opened a five-week run at Lone Star Park There is no music playing. The only sound in Grand Prairie. This time the circus presents is the heavy breathing of the artist as she the tale “Amaluna,” based on Shakespeare’s concentrates. “The Tempest.” The show opened Jan. 23 and One of the most touching acts involves a runs through March 3. scene between Miranda and her lover. Romeo “Amaluna” is the story of a magical island watched Miranda enjoy herself in choreogra- ruled by goddesses. Miranda, the daughter of phy that moved between playing in the water the Queen and shaman Prospera, is a happy bowl and displaying her strength skills in a dreamer and a romantic young girl who is difficult hand-balancing routine. The artists about to reach womanhood. also excel in their acting as the audience The queen creates a big storm that brings a watches the couple share a first kiss. group of young men to the island. The leader, “Amaluna” combines the theatrical story Prince Romeo and his men are trapped. with remarkable acrobatic acts. Watching the The show evolves into a love story between show likely gives viewers hope that dreams Romeo and Miranda. can come true. The couple confronts challenges to be The spectacle is one of more than 23 shows together, including dealing with the jealousy of by Cirque du Soleil.
    [Show full text]
  • Caliban's Use of Language in Shakespeare's the Tempest
    fi4 Notions Vol.6 No3 2015 (P) ISSN t 097G5247, (epSSN: 239*7239 Caliban's Use of Language in Shakespearers The Tbmpest You taught me language, and my profit on,t Is I know how to curse. The red plague rid you For learning me your language! (Act I, Scene II, The Tempest) ..The Richard Eyre, a distinguished English director said, life of the plays is in the language, not alongside ig or underneath i1. f'sslings and thoughts are released at the moment of speech. An Elizabethan audience would have responded to the pulse, the rhythms, the shapes, sounds, and above all meanings, within the consistent ten- syllable, five- stress lines of blank verse. They were an audience who listened,,. (Shakespeareb Language 4) At the outset, the audience has to make a distinction between some modern connotations ofthe word 'language, and those current in Shakespeare's day, when language was neither neutal nor purely verbal. A neutral view of language is typified by such statements as Saussure,s remark: From the excursions made into regions bordering upon linguistics, there emerges a negative lesson, but one which...supports the fundamental thesis of this course: the only true object of study in linguistics is the language, considered in itself and for its own sake. (Course inGeneral Linguistics) Such an empirical approachwas alientothe sixteenth and earlier seventeenth centuries, where all concems of life were moralizod, including language, in so far as most writers looked for ways of integrating their subject with the current dominant Christian concepts. Language and knowledge has been the key to power on the island in the play.
    [Show full text]
  • The Tempest Summary: a Magical Storm
    The Tempest Summary: A Magical Storm The Tempest begins on a boat, tossed about in a storm. Aboard is Alonso the King of Naples, Ferdinand (his son), Sebastian (his brother), Antonio the usurping Duke of Milan, Gonzalo, Adrian, Francisco, Trinculo and Stefano. Miranda, who has been watching the ship at sea, is distraught at the thought of lost lives. The storm was created by her father, the magical Prospero, who reassures Miranda that all will be well. Prospero explains how they came to live on this island: they were once part of Milan’s nobility – he was a Duke and Miranda the baby princess. However, Prospero’s brother (Antonio) exiled them – they were placed on a boat and banished, never to be seen again. Prospero summons Ariel, his servant spirit. Ariel explains that he has carried out Prospero’s orders: he destroyed the ship and dispersed its passengers across the island. Prospero instructs Ariel to be invisible and spy on them. Ariel asks when he will be freed and Prospero chastises him for being ungrateful, promising to free him soon, when his work is done. Caliban: Man or Monster? Prospero decides to visit his other servant, Caliban, but Miranda is reluctant, describing him as a monster. Prospero agrees that Caliban can be rude and unpleasant, but is invaluable for the menial tasks he performs for them. When Prospero and Miranda meet Caliban, we learn that he is native to the island, but Prospero turned him into a slave raising issues about morality and fairness in the play. Love at First Sight Ferdinand stumbles across Miranda and they fall in love and decide to marry.
    [Show full text]
  • Strategies of Sanity and Survival Religious Responses to Natural Disasters in the Middle Ages
    jussi hanska Strategies of Sanity and Survival Religious Responses to Natural Disasters in the Middle Ages Studia Fennica Historica The Finnish Literature Society (SKS) was founded in 1831 and has, from the very beginning, engaged in publishing operations. It nowadays publishes literature in the fields of ethnology and folkloristics, linguistics, literary research and cultural history. The first volume of the Studia Fennica series appeared in 1933. Since 1992, the series has been divided into three thematic subseries: Ethnologica, Folkloristica and Linguistica. Two additional subseries were formed in 2002, Historica and Litteraria. The subseries Anthropologica was formed in 2007. In addition to its publishing activities, the Finnish Literature Society maintains research activities and infrastructures, an archive containing folklore and literary collections, a research library and promotes Finnish literature abroad. Studia fennica editorial board Anna-Leena Siikala Rauno Endén Teppo Korhonen Pentti Leino Auli Viikari Kristiina Näyhö Editorial Office SKS P.O. Box 259 FI-00171 Helsinki www.finlit.fi Jussi Hanska Strategies of Sanity and Survival Religious Responses to Natural Disasters in the Middle Ages Finnish Literature Society · Helsinki Studia Fennica Historica 2 The publication has undergone a peer review. The open access publication of this volume has received part funding via a Jane and Aatos Erkko Foundation grant. © 2002 Jussi Hanska and SKS License CC-BY-NC-ND 4.0. International A digital edition of a printed book first published in 2002 by the Finnish Literature Society. Cover Design: Timo Numminen EPUB Conversion: eLibris Media Oy ISBN 978-951-746-357-7 (Print) ISBN 978-952-222-818-5 (PDF) ISBN 978-952-222-819-2 (EPUB) ISSN 0085-6835 (Studia Fennica) ISSN 0355-8924 (Studia Fennica Historica) DOI: http://dx.doi.org/10.21435/sfh.2 This work is licensed under a Creative Commons CC-BY-NC-ND 4.0.
    [Show full text]
  • JUNE 27–29, 2013 Thursday, June 27, 2013, 7:30 P.M. 15579Th
    06-27 Stravinsky:Layout 1 6/19/13 12:21 PM Page 23 JUNE 2 7–29, 2013 Two Works by Stravinsky Thursday, June 27, 2013, 7:30 p.m. 15, 579th Concert Friday, June 28, 2013, 8 :00 p.m. 15,580th Concert Saturday, June 29, 2013, 8:00 p.m. 15,58 1st Concert Alan Gilbert , Conductor/Magician Global Sponsor Doug Fitch, Director/Designer Karole Armitage, Choreographer Edouard Getaz, Producer/Video Director These concerts are sponsored by Yoko Nagae Ceschina. A production created by Giants Are Small Generous support from The Andrew W. Mellon Foundation, Clifton Taylor, Lighting Designer The Susan and Elihu Rose Foun - Irina Kruzhilina, Costume Designer dation, Donna and Marvin Matt Acheson, Master Puppeteer Schwartz, the Mary and James G. Margie Durand, Make-Up Artist Wallach Family Foundation, and an anonymous donor. Featuring Sara Mearns, Principal Dancer* Filming and Digital Media distribution of this Amar Ramasar , Principal Dancer/Puppeteer* production are made possible by the generos ity of The Mary and James G. Wallach Family This concert will last approximately one and Foundation and The Rita E. and Gustave M. three-quarter hours, which includes one intermission. Hauser Recording Fund . Avery Fisher Hall at Lincoln Center Home of the New York Philharmonic June 2013 23 06-27 Stravinsky:Layout 1 6/19/13 12:21 PM Page 24 New York Philharmonic Two Works by Stravinsky Alan Gilbert, Conductor/Magician Doug Fitch, Director/Designer Karole Armitage, Choreographer Edouard Getaz, Producer/Video Director A production created by Giants Are Small Clifton Taylor, Lighting Designer Irina Kruzhilina, Costume Designer Matt Acheson, Master Puppeteer Margie Durand, Make-Up Artist Featuring Sara Mearns, Principal Dancer* Amar Ramasar, Principal Dancer/Puppeteer* STRAVINSKY Le Baiser de la fée (The Fairy’s Kiss ) (1882–1971) (1928, rev.
    [Show full text]
  • Agrarian Metaphors 397
    396 Agrarian Metaphors 397 The Bible provided homilists with a rich store of "agricultural" metaphors and symbols) The loci classici are passages like Isaiah's "Song of the Vineyard" (Is. 5:1-7), Ezekiel's allegories of the Tree (Ez. 15,17,19:10-14,31) and christ's parables of the Sower (Matt. 13: 3-23, Mark 4:3-20, Luke 8:5-15) ,2 the Good Seed (Matt. 13:24-30, Mark 4:26-29) , the Barren Fig-tree (Luke 13:6-9) , the Labourers in the Vineyard (Matt. 21:33-44, Mark 12:1-11, Luke 20:9-18), and the Mustard Seed (Matt. 13:31-32, Mark 4:30-32, Luke 13:18-19). Commonplace in Scripture, however, are comparisons of God to a gardener or farmer,5 6 of man to a plant or tree, of his soul to a garden, 7and of his works to "fruits of the spirit". 8 Man is called the "husbandry" of God (1 Cor. 3:6-9), and the final doom which awaits him is depicted as a harvest in which the wheat of the blessed will be gathered into God's storehouse and the chaff of the damned cast into eternal fire. Medieval scriptural commentaries and spiritual handbooks helped to standardize the interpretation of such figures and to impress them on the memories of preachers (and their congregations). The allegorical exposition of the res rustica presented in Rabanus Maurus' De Universo (XIX, cap.l, "De cultura agrorum") is a distillation of typical readings: Spiritaliter ... in Scripturis sacris agricultura corda credentium intelliguntur, in quibus fructus virtutuxn germinant: unde Apostolus ad credentes ait [1 Cor.
    [Show full text]
  • Forbidden Planet: Film Score for Full Orchestra
    Butler University Digital Commons @ Butler University Graduate Thesis Collection Graduate Scholarship 12-2003 Forbidden Planet: Film Score for Full Orchestra Tim Perrine Butler University Follow this and additional works at: https://digitalcommons.butler.edu/grtheses Part of the Composition Commons Recommended Citation Perrine, Tim, "Forbidden Planet: Film Score for Full Orchestra" (2003). Graduate Thesis Collection. 400. https://digitalcommons.butler.edu/grtheses/400 This Thesis is brought to you for free and open access by the Graduate Scholarship at Digital Commons @ Butler University. It has been accepted for inclusion in Graduate Thesis Collection by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. Name of candidate: (111f:£tz£Zt8\lf:.- ····························································································· Oral examination: Date ..................... l.. ? ....... 1J?.g~.~.?.~.~ ..... ?:gO 3 Committee: Thesis title: .......... f .. O..~.~. .LP..P.f .. N. ......1?.~~g.) ······················'91 () (6"~$f:F,._ ............. · Thesis approved in final form: Date ................ }..fJ... ..... P.£..~.J?~...... '?:PP.~ ........ Major Professor .. ........ ........ z.{;:.f:VF.~f.f?.- STRANGE PLANET ~ FAMILIAR SOUNDS RE-SCORING FORBIDDEN PLANET Tim Perrine, 2003 Master,s Thesis Paper Prologue The intent of my master's thesis is two-fold. First, I wanted to present a large- scale work for orchestra that showcased the skills and craft I have developed as a composer (and orchestrator) to date. Secondly, since my goal as a composer is to work in Hollywood as a film composer, I wanted my large-scale work to function as a film score, providing the emotional backbone and highlighting action for a major motion picture. In order to achieve this, I needed a film that was both larger-than-life and contained, in my opinion, an easily replaceable score (or no score at all).
    [Show full text]