Shakespeare's Universe of Discourse: Language-Games in the ComediesCUP Archive, 21 jun 1984 - 349 pagina's This book makes ample use of approaches to language within linguistics, semiotics, the philosophy of language and sociology, in order to do justice to the subtlety of Shakespeare's verbal artistry. Keir Elam adopts a fresh approach to the language of Shakespeare's comedies, considering it not simply as 'style' but as the principal dramatic and comic substance of the plays. Traditional analysis of the language as 'diction', 'expression' or 'verbal structure' is not adequate to describe the range and importance of linguistic functions in these plays. This book shows that in Shakespearean comedy language, or rather 'discourse', language in use, is always a dynamic, active protagonist of the drama. The author explores the extraordinary gamut of verbal activities or 'language-games' that contribute to the rich rhetorical make-up of the comedies. The historical framework complements the application of critical theory which will assure a readership among students and teachers of Shakespeare as well as those interested in liguistics and semiotics. |
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Inhoudsopgave
the speech | 6 |
vi Shakespeare and the Elizabethan universe | 21 |
6 | 27 |
PERFORMANCES | 33 |
speaking as perfor | 64 |
the work in progress | 70 |
universes of discourse | 83 |
iv Beginnings | 89 |
with a glance at Mistress Quicklys garter | 159 |
viii Foul words foul wind | 166 |
FOUR ACTS | 177 |
83 | 229 |
FIVE FIGURES | 235 |
85 | 270 |
Glossary | 309 |
References | 318 |
Overige edities - Alles bekijken
Shakespeare's Universe of Discourse: Language-Games in the Comedies Keir Elam Geen voorbeeld beschikbaar - 1984 |
Veelvoorkomende woorden en zinsdelen
action actual appears Armado becomes Berowne Berowne's body brings character comedy comic context conversational course device dialogue direct directly discourse doth dramatic Duke effect Elizabethan especially ethical event example exchange expression eyes fair fictional figure force frame give given hath hear illocutionary indicated instance kind King ladies language least less letter lexical linguistic lord marked master means mind mode moral Moth narrative nature never object opening particular performance play position possible precisely present principle produces proper question reading reference represented rhetorical scene scheme semantic sense sentence Shakespeare's significant simple speak speaker specifically speech stage structure suggests sweet talk tell textual theatrical thee things thou tongue topic translation true turn universe utterance verbal words
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