Speech and Performance in Shakespeare's Sonnets and Plays
David Schalkwyk offers a sustained reading of Shakespeare's sonnets in relation to his plays. He argues that the la nguage of the sonnets is primarily performative rather than descriptive. In a wide-ranging analysis of both the 1609 quarto of Shakespeare's sonnets and the Petrarchan discourses in a selection of plays, Schalkwyk addresses such issues as embodiment and silencing, interiority and theatricality, inequalities of power, status, gender and desire, both in the published poems and on the stage and in the context of the early modern period.
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All's Antony and Cleopatra argues argument audience beauty beloved beloved's Bertram character claims concepts context criticism dark lady dark woman declaration Desdemona desire discourse doth early modern embodied enacts erotic eyes fact fair female fictional Fineman force Hamlet heart Helen historical ideological illocutionary illocutionary acts interaction interiority inwardness kind King language games literary logical loue Love's Labour's Lost lover lyric meaning merely metaphysical mutual object Olivia Orsino Othello paradigm paradox Paroles Paroles's performative perlocutionary Petrarchan play player player-poet poem poet poetic political praise proper name Quarto reading reciprocity recognise relations relationship render representation rhetorical rigid designation Romeo and Juliet scene self-authorising sense sexual Shakespeare's sonnets silence sonnet 23 sonnet 44 space speak speech acts stage texts theatre theatrical thee thing thou transform Troilus and Cressida truth University Press Vendler Viola voice vows Wittgenstein women words young
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