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Late Shakespeare and the English Baroque / Gary Waller.

By: Material type: TextTextPublisher: Amsterdam : Amsterdam University Press, [2024]Copyright date: 2024Description: 1 online resource (224 p.)Content type:
Media type:
Carrier type:
ISBN:
  • 9789048563197
Subject(s): DDC classification:
  • 822/.33 23//eng/20241004eng
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Table of Contents -- Introduction and Acknowledgements -- 1 Late Shakespeare and the English Baroque -- 2 Hyperbole and Melancholy: The Baroque’s Key Structure of Feeling -- 3 Plays, Players, Playing: The Multiple Theatricality of the Baroque -- 4 Shakespeare: Late Writings and the Female Baroque -- 5 Towards a Baroque Poetics I: Shake-speares Sonnets -- 6 Towards a Baroque Poetics II ‘The Phoenix and Turtle’ and ‘A Lover’s Complaint’ -- 7 Shakespearean Baroque: Tragedy in an Emptying World -- 8 Shakespearean Baroque: From Tragedy to Tragicomedy -- 9 The Tempest. Plateauing and the Gradual Immanentism of the Baroque: Shakespeare, Montaigne, Bruno, Vermeer -- Index
Summary: Late Shakespeare and the English Baroque focuses mainly on Shakespeare’s late (or later) works, those written from around 1607. It sets both poetry and plays within the emerging culture of the baroque, the term defined not merely by stylistic features but by the underlying ideological ‘structure of feeling’ of baroque culture in early modern England. The book extends the mode of analysis of The Female Baroque (Amsterdam University Press, 2020) and draws on theoretical work by José Antonio Maravall, Raymond Williams, and Julia Kristeva. It analyzes recurring Baroque characteristics – hyperbole and melancholy, theatricality, gender, and ‘plateauing’. Attention is given to the sonnets and other poems, as well as the tragedies from Hamlet on, and argues that increasingly, tragi-comedy emerges as a distinctively baroque Shakespearean characteristic. In the final chapter, primarily on The Tempest, the late Shakespeare is shown to have philosophical insights parallel to Montaigne or Bruno, and to provide anticipatory connections with later baroque artists like Vermeer.
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Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9789048563197

Frontmatter -- Table of Contents -- Introduction and Acknowledgements -- 1 Late Shakespeare and the English Baroque -- 2 Hyperbole and Melancholy: The Baroque’s Key Structure of Feeling -- 3 Plays, Players, Playing: The Multiple Theatricality of the Baroque -- 4 Shakespeare: Late Writings and the Female Baroque -- 5 Towards a Baroque Poetics I: Shake-speares Sonnets -- 6 Towards a Baroque Poetics II ‘The Phoenix and Turtle’ and ‘A Lover’s Complaint’ -- 7 Shakespearean Baroque: Tragedy in an Emptying World -- 8 Shakespearean Baroque: From Tragedy to Tragicomedy -- 9 The Tempest. Plateauing and the Gradual Immanentism of the Baroque: Shakespeare, Montaigne, Bruno, Vermeer -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

Late Shakespeare and the English Baroque focuses mainly on Shakespeare’s late (or later) works, those written from around 1607. It sets both poetry and plays within the emerging culture of the baroque, the term defined not merely by stylistic features but by the underlying ideological ‘structure of feeling’ of baroque culture in early modern England. The book extends the mode of analysis of The Female Baroque (Amsterdam University Press, 2020) and draws on theoretical work by José Antonio Maravall, Raymond Williams, and Julia Kristeva. It analyzes recurring Baroque characteristics – hyperbole and melancholy, theatricality, gender, and ‘plateauing’. Attention is given to the sonnets and other poems, as well as the tragedies from Hamlet on, and argues that increasingly, tragi-comedy emerges as a distinctively baroque Shakespearean characteristic. In the final chapter, primarily on The Tempest, the late Shakespeare is shown to have philosophical insights parallel to Montaigne or Bruno, and to provide anticipatory connections with later baroque artists like Vermeer.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 20. Nov 2024)