Allegorising Thought on the Shakespearean Stage
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€107.99
A01=Claire Gueron
Allegory
Author_Claire Gueron
Category=DDA
Category=DSBC
Category=DSBD
Category=DSG
Emotions
eq_bestseller
eq_biography-true-stories
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
eq_poetry
Heuristics
Humourism
Mind/Body
MindBody
Performance
Shakespeare
Product details
- ISBN 9781399510653
- Dimensions: 156 x 234mm
- Publication Date: 01 Aug 2023
- Publisher: Edinburgh University Press
- Publication City/Country: GB
- Product Form: Hardback
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Explores Shakespeare's use of allegory as a privileged tool for making visible the inner workings of his characters' minds
Discusses the variety of ways in which Shakespearean allegory makes the thoughts and emotions of his characters perceptible and intelligible to his audiences
Shows how the recourse to allegory allows Shakespeare to engage with classical and early modern theories of mind
Offers new readings of such purple patch" passages as Mark Antony's inflammatory speech to the Plebeians in Julius Caesar and Shylock's "do we not bleed" speech in The Merchant of Venice
Expands and revitalizes the concept of 'stage allegory' beyond its association with medieval morality plays by showing how the parameters of theatrical production (scenery, props, actors' bodies and gestures, audience) are invested with multiple layers of signification
Gives a new twist to the recent mind-body debate in early modern studies by relating it to stage semiotics and poetics
This book argues that Shakespeare turned staging problems into opportunities for complex characterization by mobilizing the semiotic potential of playhouse architecture, stage space, gestures, stage properties, performance style and audience participation. These features of production result in allegorical projections of the characters' thoughts, in a way that reflects early modern fascination with the hidden workings of the human mind.
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Claire Guéron is Senior Lecturer at the University of Burgundy (Université de Bourgogne) in Dijon, France. Her research areas are early modern stage semiotics, the ethics of spectatorship and Shakespearean detective novels. Her recent publications include ‘Figure and Figura in Henry V’, in François Laroque (ed), William Shakespeare King Henry V, Paris: Ellipses, 2020, pp.65-80, ‘Le double jeu de Nick Revill, détective Shakespearien’, Textes et Contextes, vol. 14, no. 1 , [online], June 16th, 2019. ‘”Never Shake thy Gory Locks at me”: Objecting to Gesture in Macbeth’, Interfaces: Texte, Image, Langage, vol.40, 2018. And ‘Authorizing Laughter in The Duchess of Malfi’, in Pascale Drouet and William C. Carroll (eds), Paris: Belin Education, 2018, pp. 204-19.
