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Face-to-Face in Shakespearean Drama : Ethics, Performance, Philosophy / Matthew James Smith, Julia Reinhard Lupton.

By: Contributor(s): Material type: TextTextPublisher: Edinburgh : Edinburgh University Press, [2022]Copyright date: ©2019Description: 1 online resource (304 p.)Content type:
Media type:
Carrier type:
ISBN:
  • 9781474435680
  • 9781474435703
Subject(s): DDC classification:
  • 822.3/3 23
LOC classification:
  • PR3091 .F33 2019
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Contents -- List of Illustrations -- Acknowledgements -- Introduction -- Part I: Foundational Face Work -- 1. Outface and Interface -- 2. ‘Everybody’s Somebody’s Fool’: Folie à Deux in Shakespeare’s Love Duets -- 3. The Course of Recognition in Cymbeline -- Part II: Composing Intimacy and Conflict -- 4. Face to Face, Hand to Hand: Relations of Exchange in Hamlet -- 5. Bed Tricks and Fantasies of Facelessness: All’s Well that Ends Well and Macbeth in the Dark -- Part III: Facing Judgement -- 6. The Face of Judgement in Measure for Measure -- 7. Then Face to Face: Timing Trust in Macbeth -- Part IV: Moving Pictures -- 8. The Man of Sorrows: Edgar’s Disguise and Dürer’s Self-portraits -- 9. The Face as Rhetorical Self in Ben Jonson’s Literature -- 10. Hamlet’s Face -- Afterword: Theatre and Speculation -- Notes on Contributors -- Bibliography -- Index
Summary: Explores the drama of proximity and co-presence in Shakespeare’s playsBrings together the rare pairing of philosophical ethics and performance studies in Shakespeare’s playsEngages with the thought of philosophers including Ludwig Wittgenstein, Hannah Arendt, Paul Ricoeur, Stanley Cavell, and Emmanuel LevinasThis book celebrates the theatrical excitement and philosophical meanings of human interaction in Shakespeare. On stage and in life, the face is always window and mirror, representation and presence. It examines the emotional and ethical surplus that appears between faces in the activity and performance of human encounter on stage. By transitioning from face as noun to verb – to face, outface, interface, efface, deface, sur-face – chapters reveal how Shakespeare's plays discover conflict, betrayal and deception as well as love, trust and forgiveness between faces and the bodies that bear them.
Holdings
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)9781474435703

Frontmatter -- Contents -- List of Illustrations -- Acknowledgements -- Introduction -- Part I: Foundational Face Work -- 1. Outface and Interface -- 2. ‘Everybody’s Somebody’s Fool’: Folie à Deux in Shakespeare’s Love Duets -- 3. The Course of Recognition in Cymbeline -- Part II: Composing Intimacy and Conflict -- 4. Face to Face, Hand to Hand: Relations of Exchange in Hamlet -- 5. Bed Tricks and Fantasies of Facelessness: All’s Well that Ends Well and Macbeth in the Dark -- Part III: Facing Judgement -- 6. The Face of Judgement in Measure for Measure -- 7. Then Face to Face: Timing Trust in Macbeth -- Part IV: Moving Pictures -- 8. The Man of Sorrows: Edgar’s Disguise and Dürer’s Self-portraits -- 9. The Face as Rhetorical Self in Ben Jonson’s Literature -- 10. Hamlet’s Face -- Afterword: Theatre and Speculation -- Notes on Contributors -- Bibliography -- Index

restricted access online access with authorization star

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

Explores the drama of proximity and co-presence in Shakespeare’s playsBrings together the rare pairing of philosophical ethics and performance studies in Shakespeare’s playsEngages with the thought of philosophers including Ludwig Wittgenstein, Hannah Arendt, Paul Ricoeur, Stanley Cavell, and Emmanuel LevinasThis book celebrates the theatrical excitement and philosophical meanings of human interaction in Shakespeare. On stage and in life, the face is always window and mirror, representation and presence. It examines the emotional and ethical surplus that appears between faces in the activity and performance of human encounter on stage. By transitioning from face as noun to verb – to face, outface, interface, efface, deface, sur-face – chapters reveal how Shakespeare's plays discover conflict, betrayal and deception as well as love, trust and forgiveness between faces and the bodies that bear them.

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 29. Jun 2022)