The Hand on the Shakespearean Stage: Gesture, Touch and the Spectacle of Dismemberment
Autor Dr. Farah Karim Cooperen Limba Engleză Paperback – 20 apr 2016
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| Bloomsbury Publishing – 20 apr 2016 | 218.03 lei 43-57 zile | |
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| Bloomsbury Publishing – 20 apr 2016 | 712.86 lei 43-57 zile |
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Specificații
ISBN-13: 9781474234269
ISBN-10: 1474234267
Pagini: 328
Ilustrații: 30 bw illus
Dimensiuni: 129 x 198 x 18 mm
Greutate: 0.38 kg
Editura: Bloomsbury Publishing
Colecția The Arden Shakespeare
Locul publicării:London, United Kingdom
ISBN-10: 1474234267
Pagini: 328
Ilustrații: 30 bw illus
Dimensiuni: 129 x 198 x 18 mm
Greutate: 0.38 kg
Editura: Bloomsbury Publishing
Colecția The Arden Shakespeare
Locul publicării:London, United Kingdom
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Caracteristici
A
comprehensive
analysis
of
the
way
gesture
is
central
to
Shakespeare's
dramaturgy,
provides
a
new
understanding
of
the
hand
in
Shakespearean
performance
Notă biografică
Farah
Karim-Cooperis
Head
of
Higher
Education
&
Research,
Globe
Education
(Shakespeare's
Globe)
and
Visiting
Research
Fellow,
King's
College
London,
UK.
Cuprins
Introduction
Chapter
One:
The
Idea
of
the
Hand
in
Shakespeare's
World
Chapter
Two:
Manners
and
Beauty:
The
Social
Hand
Chapter
Three:
'Lively
Action':
Gesture
in
Early
Modern
Performance
Chapter
Four:
Gesture
and
Shakespeare's
Narrative
Art
Chapter
Five:
'Let
Lips
do
what
Hands
do':
Shakespeare's
Sense
of
Touch
Chapter
Six:
Amputation:
The
Spectacle
of
Dismemberment
in
Shakespeare's
Theatres
Epilogue
--
FingersNotesIndex
Recenzii
Farah
Karim-Cooper'sThe
Hand
on
the
Shakespearean
Stage:
Gesture,
Touch,
and
the
Spectacle
of
Dismembermentcombines
its
author's
expert
knowledge
of
early
modern
performance
with
new
research
on
the
cultural
history
of
gesture
to
deliver
a
groundbreaking
account
of
the
emotional,
psychological,
and
social
work
carried
out
by
the
hand
on
stage.
This book augments Arden's reputation for producing monographs which are not only accessible to the reader, but academically rigorous and centred around fascinating subjects ... [It] serves as a vital new contribution, offering a comprehensive survey of the hand in Shakespeare's day which will be of use to students and scholars interested in conceptions of the early modern body.
Farah Karim-Cooper crafts a study that is narrow in focus yet wide-ranging in breadth by casting attention upon the early modern hand . Across six chapters, Karim-Cooper reveals the capacious symbolic capacity of the hand in early modern culture and, attendantly, on the stage . even as Karim-Cooper undertakes a historicist approach, she also pulls in dramaturgy, analysis of art, a careful attention to material culture, and a keen eye toward performance practice in order to enhance her fascinating analysis of the early modern hand . Karim-Cooper makes an important, original contribution to early modern body studies whose breadth will appeal to a wide audience of Shakespearean and early modern scholars.
Karim-Cooper skillfully locates the expressive hand in an emotional and theatrical context . Karim-Cooper gives well-deserved primacy to an oft-misunderstood and overlooked expression, a topic of interest not only to the scholars who seem to be her target audience, but also to educators, actors, and directors. Her insightful analysis of the hand demonstrates the close correspondence among the scientific, philosophic, and artistic fields . her command of period plays, oratory, and anatomical sources successfully brings interdisciplinary considerations of hand gestures to bear on the works of Shakespeare and his contemporaries, and also on contemporary plays onstage and in film.
[An] excellent handbook. Within the joy of the pun rests the richness of Karim-Cooper's achievement. her encyclopedic consideration of the hand and her specific attention to gesture as narration and to the complexities of touch do the work for those of us who will go on to play with the discoveries she offers ... The Hand on the Shakespearean Stage provides both the material for invention and further study and points us toward the potential of a hands-on approach to contemporary productions of the early modern works with a new understanding of gesture, touch, and the intimacy of palms.
This book augments Arden's reputation for producing monographs which are not only accessible to the reader, but academically rigorous and centred around fascinating subjects ... [It] serves as a vital new contribution, offering a comprehensive survey of the hand in Shakespeare's day which will be of use to students and scholars interested in conceptions of the early modern body.
Farah Karim-Cooper crafts a study that is narrow in focus yet wide-ranging in breadth by casting attention upon the early modern hand . Across six chapters, Karim-Cooper reveals the capacious symbolic capacity of the hand in early modern culture and, attendantly, on the stage . even as Karim-Cooper undertakes a historicist approach, she also pulls in dramaturgy, analysis of art, a careful attention to material culture, and a keen eye toward performance practice in order to enhance her fascinating analysis of the early modern hand . Karim-Cooper makes an important, original contribution to early modern body studies whose breadth will appeal to a wide audience of Shakespearean and early modern scholars.
Karim-Cooper skillfully locates the expressive hand in an emotional and theatrical context . Karim-Cooper gives well-deserved primacy to an oft-misunderstood and overlooked expression, a topic of interest not only to the scholars who seem to be her target audience, but also to educators, actors, and directors. Her insightful analysis of the hand demonstrates the close correspondence among the scientific, philosophic, and artistic fields . her command of period plays, oratory, and anatomical sources successfully brings interdisciplinary considerations of hand gestures to bear on the works of Shakespeare and his contemporaries, and also on contemporary plays onstage and in film.
[An] excellent handbook. Within the joy of the pun rests the richness of Karim-Cooper's achievement. her encyclopedic consideration of the hand and her specific attention to gesture as narration and to the complexities of touch do the work for those of us who will go on to play with the discoveries she offers ... The Hand on the Shakespearean Stage provides both the material for invention and further study and points us toward the potential of a hands-on approach to contemporary productions of the early modern works with a new understanding of gesture, touch, and the intimacy of palms.