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Book Details :
Published on: 2015-09-15
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Original language: English

Throughout his plays, Shakespeare placed an extraordinary emphasis on the power of the face to reveal or conceal moral character and emotion, repeatedly inviting the audience to attend carefully to facial features and expressions. The essays collected here disclose that an attention to the power of the face in Shakespeare’s England helps explain moments when Shakespeare’s language of the self becomes intertwined with his language of the face. As the range of these essays demonstrates, an attention to Shakespeare’s treatment of faces has implications for our understanding of the historical and cultural context in which he wrote, as well as the significance of the face for the ongoing interpretation and production of the plays. Engaging with a variety of critical strands that have emerged from the so-called turn to the body, the contributors to this volume argue that Shakespeare’s invitation to look to the face for clues to inner character is not an invitation to seek a static text beneath an external image, but rather to experience the power of the face to initiate reflection, judgment, and action. The evidence of the plays suggests that Shakespeare understood that this experience was extremely complex and mysterious. By turning attention to the face, the collection offers important new analyses of a key feature of Shakespeare’s dramatic attention to the part of the body that garnered the most commentary in early modern England. By bringing together critics interested in material culture studies with those focused on philosophies of self and other and historians and theorists of performance, Shakespeare and the Power of the Face constitutes a significant contribution to our growing understanding of attitudes towards embodiment in Shakespeare’s England. Analysis of Shakespeare's Sonnets and Paraphrase in Modern ... Shakespeare's Sonnets The Sonnets are Shakespeare's most popular works and a few of them such as Sonnet 18 (Shall I compare thee to a summer's day) Sonnet 116 (Let ... William Shakespeare - Poet Academy of American Poets William Shakespeare - Poet - William Shakespeare regarded as the foremost dramatist of his time wrote more than thirty plays and more than one hundred sonnets all ... Macbeth - Wikipedia Macbeth (/ m k b /; full title The Tragedy of Macbeth) is a tragedy by William Shakespeare; it is thought to have been first performed in 1606. It ... William Shakespeare - Poet Playwright - Biography.com William Shakespeare often called the English national poet is widely considered the greatest dramatist of all time. Kingship and Power in Shakespeare's Richard II Henry IV ... Representations of Kingship and Power in Shakespeare's Second Tetralogy Amanda Mabillard Since it is impossible to know Shakespeares attitudes beliefs and play ... Shakespeare's "Othello" and the Power of Language EDSITEment Shakespeare's works online: Standard online editions of most of Shakespeare's works including Othello are available from the MIT Shakespeare Homepage a link on the ... The Power of Words & Language in Hamlet and Othello by ... In two of Shakespeares plays Hamlet and Othello the power of words helps drive the central action of the plots. While there are different motivations for ... Hamlet - Wikipedia The Tragedy of Hamlet Prince of Denmark often shortened to Hamlet (/ h m l t /) is a tragedy written by William Shakespeare at an uncertain date between ... Macbeth: Entire Play - William Shakespeare ACT I SCENE I. A desert place. Thunder and lightning. Enter three Witches First Witch When shall we three meet again In thunder lightning or in rain? Shakespeares Sonnets Sonnet 20 - A womans face with ... Shakespeare's Sonnets Summary and Analysis of Sonnet 20 - "A woman's face with Nature's own hand painted"
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