Theatre of the Book, 1480-1880: Print, Text, and Performance in EuropeOxford University Press, 09/11/2000 - 494 من الصفحات Theatre of the Book is an account of the entangled histories of print and the theatre in Europe between the Renaissance and the late nineteenth century: a history of European dramatic publication (providing comparative and historical perspective to the growing field of textual studies); an examination of the creation of the modern notion of text and performance; and a comparative genealogy of ideas about theatrical and textual reception. It shows that, far from being marginal to Renaissance dramatists, the printing press had an essential role to play in the birth of the modern theatre, crucially shaping the normative conception of 'theatre' as a distinct aesthetic medium and of drama as a distinct narrative form, helping to forge a theatricalist aesthetics in opposition to 'the book'. Treating playtexts, engravings, actor portraits, notation systems, and theatrical ephemera at once as material objects and expressions of complex cultural formations, Theatre of the Book examines the European theatre's continual refashioning of itself in the world of print. |
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الصفحة 6
... languages over forty times in the sixteenth century. There were at least thirteen Italian editions of Trissino's Sofonisba in the sixteenth century, fifteen of Machiavelli's Mandragola, twenty-six of Bibbiena's Calandra, around forty of ...
... languages over forty times in the sixteenth century. There were at least thirteen Italian editions of Trissino's Sofonisba in the sixteenth century, fifteen of Machiavelli's Mandragola, twenty-six of Bibbiena's Calandra, around forty of ...
الصفحة 8
... language, norms for scholarly annotation, and “the Rules” (identified with the learned book and reflecting the critical authority of the state) and, on the other, the “licentious” theatre, embracing its own populism and drawing an ...
... language, norms for scholarly annotation, and “the Rules” (identified with the learned book and reflecting the critical authority of the state) and, on the other, the “licentious” theatre, embracing its own populism and drawing an ...
الصفحة 11
... language quotations and titles in the notes. The majority of the material with which I have dealt has not been translated or has been translated badly, so I have been obliged to do my own, certainly flawed, translations. Where there is ...
... language quotations and titles in the notes. The majority of the material with which I have dealt has not been translated or has been translated badly, so I have been obliged to do my own, certainly flawed, translations. Where there is ...
الصفحة 89
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الصفحة 99
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المحتوى
1 | |
11 | |
13 | |
THEATRE IMPRIMATUR | 91 |
THE SENSES OF MEDIA | 145 |
THE COMMERCE OF LETTERS | 201 |
THEATRICAL IMPRESSIONS | 255 |
Epilogue | 308 |
Notes | 313 |
Works Cited | 444 |
Index | 487 |
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acting action actors aesthetic attempt Beaumont and Fletcher become beginning body century Chapter characters claims classical collection Comedies Complete continued contract copies Corneille corrected create critics culture dedication describes directions discussion distinction drama dramatic dramatists early edition eighteenth English explains expression fact figures French gesture give hand identified illustrations imagination imitation important instance Italy John Jonson kind language late later learned letters Library literary living managers manuscript means narrative nature notes offer once original performance period Plautus plays playwrights poem poet poetic poetry preface printed printers production published readers reading reflected Renaissance represented scene scenic seemed seen senses seventeenth Shakespeare similarly space spectators speech stage theatre theatrical things Thomas tion tragedy trans translation various voice writes written