Death, like most experiences that we think of as natural, is a product of the human imagination: all animals die, but only human beings suffer Death; and what they suffer is shaped by the… Mehr…
Death, like most experiences that we think of as natural, is a product of the human imagination: all animals die, but only human beings suffer Death; and what they suffer is shaped by their own time and culture.Tragedy was one of the principal instruments through which the culture of early modern England imagined the encounter with mortality.The essays in this book approach the theatrical reinvention of Death from three perspectives.Those in Part I explore Deathas a trope of apocalypse — a moment of un-veiling or dis-covery that is figured both in the fearful nakedness of the Danse Macabre and in the shameful openings enacted in the new theatres of anatomy.Separate chapters explore the apocalyptic design of two of the periods most powerful tragedies —Shakespeare's Othello, and Middleton and Rowley's The Changeling. In Part 2, Neill explores the psychological and affective consequences of tragedy's fiercely end-driven narrative in a number of plays where a longing for narrative closure is pitched against a particularly intense dread of ending.The imposition of an end is often figured as an act of writerly violence, committed by the author or his dramatic surrogate.Extensive attention is paid to Hamlet as an extreme example of the structural consequences of such anxiety.The function of revengetragedy as a response to the radical displacement of the dead by the Protestant abolition of purgatory — one of the most painful aspects of the early modern re-imagining of death — is also illustrated with particular clarity. Finally, Part 3 focuses on the way tragedy articulates its challenge to the undifferentiating power of death through conventions and motifs borrowed from the funereal arts.It offers detailed analyses of three plays — Shakespeare's Antony and Cleopatra, Webster's The Duchess of Malfi, and Ford's The Broken Heart.Here, funeral is rewritten as triumph, and death becomes the chosen instrument of an heroic self-fashioning designed to dress the arbitrary abruption ofmortal ending in a powerful aesthetic of closure.; PDF; Reference & Languages > Literature: history & criticism > Literary studies: general > Literary studi, Clarendon Press<
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Death, like most experiences that we think of as natural, is a product of the human imagination: all animals die, but only human beings suffer Death; and what they suffer is shaped by the… Mehr…
Death, like most experiences that we think of as natural, is a product of the human imagination: all animals die, but only human beings suffer Death; and what they suffer is shaped by their own time and culture.Tragedy was one of the principal instruments through which the culture of early modern England imagined the encounter with mortality.The essays in this book approach the theatrical reinvention of Death from three perspectives.Those in Part I explore Deathas a trope of apocalypse — a moment of un-veiling or dis-covery that is figured both in the fearful nakedness of the Danse Macabre and in the shameful openings enacted in the new theatres of anatomy.Separate chapters explore the apocalyptic design of two of the periods most powerful tragedies —Shakespeare's Othello, and Middleton and Rowley's The Changeling. In Part 2, Neill explores the psychological and affective consequences of tragedy's fiercely end-driven narrative in a number of plays where a longing for narrative closure is pitched against a particularly intense dread of ending.The imposition of an end is often figured as an act of writerly violence, committed by the author or his dramatic surrogate.Extensive attention is paid to Hamlet as an extreme example of the structural consequences of such anxiety.The function of revengetragedy as a response to the radical displacement of the dead by the Protestant abolition of purgatory — one of the most painful aspects of the early modern re-imagining of death — is also illustrated with particular clarity. Finally, Part 3 focuses on the way tragedy articulates its challenge to the undifferentiating power of death through conventions and motifs borrowed from the funereal arts.It offers detailed analyses of three plays — Shakespeare's Antony and Cleopatra, Webster's The Duchess of Malfi, and Ford's The Broken Heart.Here, funeral is rewritten as triumph, and death becomes the chosen instrument of an heroic self-fashioning designed to dress the arbitrary abruption ofmortal ending in a powerful aesthetic of closure.; PDF; Reference & Languages > Literature: history & criticism > Literary studies: general > Literary studi, Clarendon Press<
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No. 9780191588563. Versandkosten:Instock, Despatched same working day before 3pm, plus verzendkosten., zzgl. Versandkosten Details...
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Death, like most experiences that we think of as natural, is a product of the human imagination: all animals die, but only human beings suffer Death; and what they suffer is shaped by the… Mehr…
Death, like most experiences that we think of as natural, is a product of the human imagination: all animals die, but only human beings suffer Death; and what they suffer is shaped by their own time and culture.Tragedy was one of the principal instruments through which the culture of early modern England imagined the encounter with mortality.The essays in this book approach the theatrical reinvention of Death from three perspectives.Those in Part I explore Deathas a trope of apocalypse — a moment of un-veiling or dis-covery that is figured both in the fearful nakedness of the Danse Macabre and in the shameful openings enacted in the new theatres of anatomy.Separate chapters explore the apocalyptic design of two of the periods most powerful tragedies —Shakespeare's Othello, and Middleton and Rowley's The Changeling. In Part 2, Neill explores the psychological and affective consequences of tragedy's fiercely end-driven narrative in a number of plays where a longing for narrative closure is pitched against a particularly intense dread of ending.The imposition of an end is often figured as an act of writerly violence, committed by the author or his dramatic surrogate.Extensive attention is paid to Hamlet as an extreme example of the structural consequences of such anxiety.The function of revengetragedy as a response to the radical displacement of the dead by the Protestant abolition of purgatory — one of the most painful aspects of the early modern re-imagining of death — is also illustrated with particular clarity. Finally, Part 3 focuses on the way tragedy articulates its challenge to the undifferentiating power of death through conventions and motifs borrowed from the funereal arts.It offers detailed analyses of three plays — Shakespeare's Antony and Cleopatra, Webster's The Duchess of Malfi, and Ford's The Broken Heart.Here, funeral is rewritten as triumph, and death becomes the chosen instrument of an heroic self-fashioning designed to dress the arbitrary abruption ofmortal ending in a powerful aesthetic of closure.; PDF; Reference & Languages > Literature: history & criticism > Literary studies: general > Literary studi, OUP Oxford<
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No. 9780191588563. Versandkosten:Instock, Despatched same working day before 3pm, zzgl. Versandkosten. Details...
(*) Derzeit vergriffen bedeutet, dass dieser Titel momentan auf keiner der angeschlossenen Plattform verfügbar ist.
Death, like most experiences that we think of as natural, is a product of the human imagination: all animals die, but only human beings suffer Death; and what they suffer is shaped by the… Mehr…
Death, like most experiences that we think of as natural, is a product of the human imagination: all animals die, but only human beings suffer Death; and what they suffer is shaped by their own time and culture.Tragedy was one of the principal instruments through which the culture of early modern England imagined the encounter with mortality.The essays in this book approach the theatrical reinvention of Death from three perspectives.Those in Part I explore Deathas a trope of apocalypse — a moment of un-veiling or dis-covery that is figured both in the fearful nakedness of the Danse Macabre and in the shameful openings enacted in the new theatres of anatomy.Separate chapters explore the apocalyptic design of two of the periods most powerful tragedies —Shakespeare's Othello, and Middleton and Rowley's The Changeling. In Part 2, Neill explores the psychological and affective consequences of tragedy's fiercely end-driven narrative in a number of plays where a longing for narrative closure is pitched against a particularly intense dread of ending.The imposition of an end is often figured as an act of writerly violence, committed by the author or his dramatic surrogate.Extensive attention is paid to Hamlet as an extreme example of the structural consequences of such anxiety.The function of revengetragedy as a response to the radical displacement of the dead by the Protestant abolition of purgatory — one of the most painful aspects of the early modern re-imagining of death — is also illustrated with particular clarity. Finally, Part 3 focuses on the way tragedy articulates its challenge to the undifferentiating power of death through conventions and motifs borrowed from the funereal arts.It offers detailed analyses of three plays — Shakespeare's Antony and Cleopatra, Webster's The Duchess of Malfi, and Ford's The Broken Heart.Here, funeral is rewritten as triumph, and death becomes the chosen instrument of an heroic self-fashioning designed to dress the arbitrary abruption ofmortal ending in a powerful aesthetic of closure.; PDF; Reference & Languages > Literature: history & criticism > Literary studies: general > Literary studi, Clarendon Press<
No. 9780191588563. Versandkosten:Instock, Despatched same working day before 3pm, zzgl. Versandkosten.
Death, like most experiences that we think of as natural, is a product of the human imagination: all animals die, but only human beings suffer Death; and what they suffer is shaped by the… Mehr…
Death, like most experiences that we think of as natural, is a product of the human imagination: all animals die, but only human beings suffer Death; and what they suffer is shaped by their own time and culture.Tragedy was one of the principal instruments through which the culture of early modern England imagined the encounter with mortality.The essays in this book approach the theatrical reinvention of Death from three perspectives.Those in Part I explore Deathas a trope of apocalypse — a moment of un-veiling or dis-covery that is figured both in the fearful nakedness of the Danse Macabre and in the shameful openings enacted in the new theatres of anatomy.Separate chapters explore the apocalyptic design of two of the periods most powerful tragedies —Shakespeare's Othello, and Middleton and Rowley's The Changeling. In Part 2, Neill explores the psychological and affective consequences of tragedy's fiercely end-driven narrative in a number of plays where a longing for narrative closure is pitched against a particularly intense dread of ending.The imposition of an end is often figured as an act of writerly violence, committed by the author or his dramatic surrogate.Extensive attention is paid to Hamlet as an extreme example of the structural consequences of such anxiety.The function of revengetragedy as a response to the radical displacement of the dead by the Protestant abolition of purgatory — one of the most painful aspects of the early modern re-imagining of death — is also illustrated with particular clarity. Finally, Part 3 focuses on the way tragedy articulates its challenge to the undifferentiating power of death through conventions and motifs borrowed from the funereal arts.It offers detailed analyses of three plays — Shakespeare's Antony and Cleopatra, Webster's The Duchess of Malfi, and Ford's The Broken Heart.Here, funeral is rewritten as triumph, and death becomes the chosen instrument of an heroic self-fashioning designed to dress the arbitrary abruption ofmortal ending in a powerful aesthetic of closure.; PDF; Reference & Languages > Literature: history & criticism > Literary studies: general > Literary studi, Clarendon Press<
No. 9780191588563. Versandkosten:Instock, Despatched same working day before 3pm, plus verzendkosten., zzgl. Versandkosten
Death, like most experiences that we think of as natural, is a product of the human imagination: all animals die, but only human beings suffer Death; and what they suffer is shaped by the… Mehr…
Death, like most experiences that we think of as natural, is a product of the human imagination: all animals die, but only human beings suffer Death; and what they suffer is shaped by their own time and culture.Tragedy was one of the principal instruments through which the culture of early modern England imagined the encounter with mortality.The essays in this book approach the theatrical reinvention of Death from three perspectives.Those in Part I explore Deathas a trope of apocalypse — a moment of un-veiling or dis-covery that is figured both in the fearful nakedness of the Danse Macabre and in the shameful openings enacted in the new theatres of anatomy.Separate chapters explore the apocalyptic design of two of the periods most powerful tragedies —Shakespeare's Othello, and Middleton and Rowley's The Changeling. In Part 2, Neill explores the psychological and affective consequences of tragedy's fiercely end-driven narrative in a number of plays where a longing for narrative closure is pitched against a particularly intense dread of ending.The imposition of an end is often figured as an act of writerly violence, committed by the author or his dramatic surrogate.Extensive attention is paid to Hamlet as an extreme example of the structural consequences of such anxiety.The function of revengetragedy as a response to the radical displacement of the dead by the Protestant abolition of purgatory — one of the most painful aspects of the early modern re-imagining of death — is also illustrated with particular clarity. Finally, Part 3 focuses on the way tragedy articulates its challenge to the undifferentiating power of death through conventions and motifs borrowed from the funereal arts.It offers detailed analyses of three plays — Shakespeare's Antony and Cleopatra, Webster's The Duchess of Malfi, and Ford's The Broken Heart.Here, funeral is rewritten as triumph, and death becomes the chosen instrument of an heroic self-fashioning designed to dress the arbitrary abruption ofmortal ending in a powerful aesthetic of closure.; PDF; Reference & Languages > Literature: history & criticism > Literary studies: general > Literary studi, OUP Oxford<
No. 9780191588563. Versandkosten:Instock, Despatched same working day before 3pm, zzgl. Versandkosten.
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Buch in der Datenbank seit 2020-06-29T12:35:16+02:00 (Berlin) Detailseite zuletzt geändert am 2024-02-02T13:10:08+01:00 (Berlin) ISBN/EAN: 9780191588563
ISBN - alternative Schreibweisen: 0-19-158856-3, 978-0-19-158856-3 Alternative Schreibweisen und verwandte Suchbegriffe: Titel des Buches: renaissance
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