Foreign Accents: Brazilian Readings of ShakespeareAimara da Cunha Resende, Thomas LaBorie Burns University of Delaware Press, 2002 - 230 стор. 'Foregin Accents' is formed of two parts: the first one offers analyses of translations/interpretations/appropriations of plays and sonnets in different processes of transmutation. The second comprises texts that deal with more general critical readings. Shakespeare is viewed in the light of gender studies, of postmodernism, and of comparative studies. |
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Сторінка 6
... Contemporary King Lear 198 THAÍS FLORES NOGUEIRA DINIZ Multiple Texts and Performance in the Final Scene of Henry V 207 MARGARIDA GANDARA RAUEN Contributors Index 224 228 Acknowledgments MY THANKS ARE DUE TO ALL THOSE WHO HAVE 6 CONTENTS.
... Contemporary King Lear 198 THAÍS FLORES NOGUEIRA DINIZ Multiple Texts and Performance in the Final Scene of Henry V 207 MARGARIDA GANDARA RAUEN Contributors Index 224 228 Acknowledgments MY THANKS ARE DUE TO ALL THOSE WHO HAVE 6 CONTENTS.
Сторінка 25
... scene moves on to the Prince and his law on those dis- turbing the peace in Verona and , after a short speech by the narra- tor , we have Romeo and Benvolio talking of the former's love for Rosaline . The Romeo we are introduced to is a ...
... scene moves on to the Prince and his law on those dis- turbing the peace in Verona and , after a short speech by the narra- tor , we have Romeo and Benvolio talking of the former's love for Rosaline . The Romeo we are introduced to is a ...
Сторінка 28
... scene that may be taken either as the Prince's demented imagination or as a spiritualist scéance in which the dead King is incorporated in his son's best companion . The Ghost is seen only in a kind of retrospective view of his burial ...
... scene that may be taken either as the Prince's demented imagination or as a spiritualist scéance in which the dead King is incorporated in his son's best companion . The Ghost is seen only in a kind of retrospective view of his burial ...
Сторінка 29
... scene with Hamlet , though , takes place only with the help of Horatio , who per- forms the Ghost , against his will but forced into it by Hamlet . Hirsch's reading of Hamlet testifies to the richness of Shake- speare's text , its ...
... scene with Hamlet , though , takes place only with the help of Horatio , who per- forms the Ghost , against his will but forced into it by Hamlet . Hirsch's reading of Hamlet testifies to the richness of Shake- speare's text , its ...
Сторінка 30
... scène with changes in location , language transposition aiming at a better understanding of the word - play by the nonnative audience , and swift topical allusions for audience involvement . An appropriation , on the other hand , takes ...
... scène with changes in location , language transposition aiming at a better understanding of the word - play by the nonnative audience , and swift topical allusions for audience involvement . An appropriation , on the other hand , takes ...
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Foreign Accents: Brazilian Readings of Shakespeare Aimara da Cunha Resende,Thomas LaBorie Burns Перегляд фрагмента - 2002 |
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actors Almeida Ariel artist audience becomes Boal Boal's Brazil Brazilian Caliban Césaire Césaire's characters colonial comedy contemporary context critical cultural death drama English essay European Federal University film Folio Gazeta de Notícias gender Godard Hamletrash haue Henry Horatio Ibid idea João José José Aguilar Kate Kate's King Lear Lady language literary literature Macbeth Machado de Assis metatheater Minas Gerais modern murder nature Notícias Rio numbers Ophelia Oswald de Andrade Othello parody Paulo performance Player playwright political postcolonial production Prospero Quarto reading Renaissance Retamar Rio de Janeiro Rosencrantz and Guildenstern Rushdie Rushdie's São Paulo says scene Semana Shake Shakespeare's Hamlet Shakespeare's play Shakespeare's text Shrew Silviano Santiago slave Sonnet speare's speech Stoppard's story Teatro Tempest Tempestade Tempête theatrical thou tion Titus Andronicus tradition tragedy Trans translation University of Minas University Press W. W. Jackson William Shakespeare words writer Yorick
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Сторінка 184 - it to you—trippingly on the tongue; but if you mouth it, as many of your players do, I had as lief the town—crier had spoke my lines. Nor do not saw the air too much with your hand thus, but use all gently; for in the very torrent, tempest, and as I may say the
Сторінка 119 - What beast was't then That made you break this enterprise to me? When you durst do it, then you were a man; And to be more than what you were, you Would be so much more the man. Nor time nor place Did
Сторінка 175 - All things in common nature should produce Without sweat or endeavour. Treason, felony, Sword, pike, knife, gun, or need of any engine, Would I not have; but nature should bring forth Of its own kind all foison, all abundance, To feed my innocent people.
Сторінка 184 - Hamlet: But come, Here as before, never, so help you mercy, How strange or odd soe'er I bear myself— As I perchance hereafter shall think meet To put an antic disposition on— That you at such time seeing me never shall, With arms encumber'd thus, or this head-shake
Сторінка 118 - Stop up th'access and passage to remorse, That no compunctious visitings of nature Shake my fell purpose, nor keep peace between The effect and it. Come to my woman's breasts, Wherever in your sightless substances You wait on nature's mischief.
Сторінка 174 - No poet, no artist of any sort, has his complete meaning alone. His Significance, his appreciation is the appreciation of his relation to the dead poets and artists. You cannot value him alone. You must set him, for contrast and comparison, among the dead. —TS Eliot
Сторінка 130 - Then God be blessed, it is the blessed sun, But sun it is not, when you say it is not; And the moon changes even as your mind. What you will have it nam'd, even that it is, And so it shall be still for Katherine.
Сторінка 115 - all great Neptune's ocean wash this blood Clean from my hand? No. This my hand will rather The multitudinous seas incarnadine, Making the green one red.