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010 _a2019286480
020 _a9781474435680
_qprint
020 _a9781474435703
_qPDF
024 7 _a10.1515/9781474435703
_2doi
035 _a(DE-B1597)9781474435703
035 _a(DE-B1597)615500
035 _a(OCoLC)1306538270
040 _aDE-B1597
_beng
_cDE-B1597
_erda
050 0 0 _aPR3091
_b.F33 2019
072 7 _aLIT013000
_2bisacsh
082 0 4 _a822.3/3
_223
084 _aonline - DeGruyter
100 1 _aJames Smith, Matthew
_eautore
245 1 0 _aFace-to-Face in Shakespearean Drama :
_bEthics, Performance, Philosophy /
_cMatthew James Smith, Julia Reinhard Lupton.
264 1 _aEdinburgh :
_bEdinburgh University Press,
_c[2022]
264 4 _c©2019
300 _a1 online resource (304 p.)
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
505 0 0 _tFrontmatter --
_tContents --
_tList of Illustrations --
_tAcknowledgements --
_tIntroduction --
_tPart I: Foundational Face Work --
_t1. Outface and Interface --
_t2. ‘Everybody’s Somebody’s Fool’: Folie à Deux in Shakespeare’s Love Duets --
_t3. The Course of Recognition in Cymbeline --
_tPart II: Composing Intimacy and Conflict --
_t4. Face to Face, Hand to Hand: Relations of Exchange in Hamlet --
_t5. Bed Tricks and Fantasies of Facelessness: All’s Well that Ends Well and Macbeth in the Dark --
_tPart III: Facing Judgement --
_t6. The Face of Judgement in Measure for Measure --
_t7. Then Face to Face: Timing Trust in Macbeth --
_tPart IV: Moving Pictures --
_t8. The Man of Sorrows: Edgar’s Disguise and Dürer’s Self-portraits --
_t9. The Face as Rhetorical Self in Ben Jonson’s Literature --
_t10. Hamlet’s Face --
_tAfterword: Theatre and Speculation --
_tNotes on Contributors --
_tBibliography --
_tIndex
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aExplores 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.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 29. Jun 2022)
650 0 _aActing
_xPhilosophy.
650 0 _aActing-Philosophy.
650 4 _aLiterary Studies.
650 7 _aLITERARY CRITICISM / Drama.
_2bisacsh
700 1 _aByker, Devin
_eautore
700 1 _aCurran, Kevin
_eautore
700 1 _aLupton, Julia Reinhard
_eautore
700 1 _aManley, Lawrence
_eautore
700 1 _aReinhard Lupton, Julia
_eautore
700 1 _aScolnicov, Hanna
_eautore
700 1 _aShimizu, Akihiko
_eautore
700 1 _aShortslef, Emily
_eautore
700 1 _aSmith, Bruce R.
_eautore
700 1 _aSmith, Matthew James
_eautore
700 1 _aWaldron, Jennifer
_eautore
700 1 _aWest, William N.
_eautore
700 1 _aWorthen, W. B.
_eautore
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.1515/9781474435703?locatt=mode:legacy
856 4 0 _uhttps://www.degruyter.com/isbn/9781474435703
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9781474435703/original
942 _cEB
999 _c216961
_d216961