The unmasking of drama : contested representation in Shakespeare's tragedies /
In The Unmasking of Drama, Jonathan Baldo examines the remarkable representative power with which viewers invest Shakespearean theater, contending that struggles over representation constitute one of the greatest dramas within Shakespearean drama
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| Format: | Book |
| Language: | English |
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Detroit :
Wayne State University Press,
c1996
Detroit, MI : [1996], ©1996 Detroit : [1996] |
| Subjects: |
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| 100 | 1 | |a Baldo, Jonathan |0 http://viaf.org/viaf/sourceID/LC|n95117534 | |
| 100 | 1 | |a Baldo, Jonathan |1 http://viaf.org/viaf/14889906 | |
| 100 | 1 | |a Baldo, Jonathan | |
| 245 | 1 | 4 | |a The unmasking of drama : |b contested representation in Shakespeare's tragedies / |c Jonathan Baldo |
| 260 | |a Detroit : |b Wayne State University Press, |c c1996 | ||
| 260 | |a Detroit, MI : |b Wayne State University Press, |c [1996], ©1996 | ||
| 264 | 1 | |a Detroit : |b Wayne State University Press, |c [1996] | |
| 264 | 4 | |c ©1996 | |
| 300 | |a 213 p. ; |c 24 cm | ||
| 300 | |a 213 pages ; |c 24 cm | ||
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| 500 | |a This WorldCat-derived record is shareable under Open Data Commons ODC-BY, with attribution to OCLC |5 CTY | ||
| 504 | |a Includes bibliographical references (p. 181-208) and index | ||
| 504 | |a Includes bibliographical references (pages 181-208) and index | ||
| 504 | |a Includes bibliographical references and index | ||
| 505 | 0 | |a Fast Foreword: Will and Representation -- 1. Impolitic Bodies -- 2. Partial to Synecdoche (Ophelia's Rhetoric) -- 3. Generally Speaking: The Rhetoric of Shakespearean Tragedy and Modern Criticism -- 4. The Shadow of Levelling -- 5. Eye, Claudius -- 6. The Ear's Supervision of the Eye in Early Shakespearean Drama | |
| 505 | 0 | 0 | |g Fast foreword |t Will and representation -- |g pt. 1. |t Representing : |g 1. |t Impolitic bodies -- |g 2. |t Partial to synecdoche (Ophelia's rhetoric) ; |g pt. 2. |t Generalizing : |g 3. |t Generally speaking: the rhetoric of Shakespearean tragedy and modern criticism -- |g 4. |t The shadow of levelling ; |g pt. 3. |t Visualizing : |g 5. |t Eye, Claudius -- |g 6. |t The ear's supervision of the eye in early Shakespearean drama. |
| 505 | 0 | 0 | |t Fast Foreword: Will and Representation -- |g 1 |t Impolitic Bodies -- |g 2. |t Partial to Synecdoche (Ophelia's Rhetoric) -- |g 3. |t Generally Speaking: The Rhetoric of Shakespearean Tragedy and Modern Criticism -- |g 4. |t The Shadow of Levelling -- |g 5. |t Eye, Claudius -- |g 6. |t The Ear's Supervision of the Eye in Early Shakespearean Drama. |
| 520 | |a In The Unmasking of Drama, Jonathan Baldo examines the remarkable representative power with which viewers invest Shakespearean theater, contending that struggles over representation constitute one of the greatest dramas within Shakespearean drama | ||
| 520 | |a In The Unmasking of Drama, Jonathan Baldo examines the remarkable representative power with which viewers invest Shakespearean theater, contending that struggles over representation constitute one of the greatest dramas within Shakespearean drama. From Hamlet to Coriolanus and Timon of Athens, Shakespeare's tragedies constitute the most strenuous attempts within English Renaissance tragedy to unmask its representational practices and to penetrate its own ordering principles. Baldo evaluates the theater's economical means of representation, its heavy reliance on the authority of generalizing, and its assumption of a translatability between visual and verbal signs. He discovers that those modes of representation echo Renaissance assumptions about political representation, and as a result, Shakespearean drama's self-investigations bear powerful political implications. This study reveals the flaws within the widespread assumption that Shakespeare's plays possess an almost limitless capacity to represent, to speak on behalf of subsequent generations and other cultures. Baldo shows that one of the great ironies of such a "universalist" Shakespeare is that Shakespearean drama itself challenges the Renaissance era's dominant ideas about representation: for instance, the assumption that a single body, a monarch, can represent an entire people. Paradoxically, to many, Shakespeare fulfills the very function that none of his monarchs can | ||
| 520 | 8 | |a From Hamlet to Coriolanus and Timon of Athens, Shakespeare's tragedies constitute the most strenuous attempts within English Renaissance tragedy to unmask its representational practices and to penetrate its own ordering principles. Baldo evaluates the theater's economical means of representation, its heavy reliance on the authority of generalizing, and its assumption of a translatability between visual and verbal signs | |
| 520 | 8 | |a He discovers that those modes of representation echo Renaissance assumptions about political representation, and as a result, Shakespearean drama's self-investigations bear powerful political implications | |
| 520 | 8 | |a Paradoxically, to many, Shakespeare fulfills the very function that none of his monarchs can | |
| 520 | 8 | |a This study reveals the flaws within the widespread assumption that Shakespeare's plays possess an almost limitless capacity to represent, to speak on behalf of subsequent generations and other cultures. Baldo shows that one of the great ironies of such a "universalist" Shakespeare is that Shakespearean drama itself challenges the Renaissance era's dominant ideas about representation: for instance, the assumption that a single body, a monarch, can represent an entire people | |
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