標(biāo)題: Titlebook: Apes and Monkeys on the Early Modern Stage, 1603–1659; Teresa Grant Book 2024 The Editor(s) (if applicable) and The Author(s), under exclu [打印本頁] 作者: 我贊成 時間: 2025-3-21 16:39
書目名稱Apes and Monkeys on the Early Modern Stage, 1603–1659影響因子(影響力)
書目名稱Apes and Monkeys on the Early Modern Stage, 1603–1659影響因子(影響力)學(xué)科排名
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書目名稱Apes and Monkeys on the Early Modern Stage, 1603–1659網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Apes and Monkeys on the Early Modern Stage, 1603–1659被引頻次
書目名稱Apes and Monkeys on the Early Modern Stage, 1603–1659被引頻次學(xué)科排名
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書目名稱Apes and Monkeys on the Early Modern Stage, 1603–1659年度引用學(xué)科排名
書目名稱Apes and Monkeys on the Early Modern Stage, 1603–1659讀者反饋
書目名稱Apes and Monkeys on the Early Modern Stage, 1603–1659讀者反饋學(xué)科排名
作者: 巨大沒有 時間: 2025-3-21 23:13 作者: Terrace 時間: 2025-3-22 02:55
2634-5919 real monkeys and actors dressed up as apes.Argues that the .This book is the first full-length study of apes and monkeys on the early modern stage. It broadens the scope of existing scholarship by situating the apes glimpsed in Shakespeare’s plays in the wider context of the many uncelebrated uses 作者: expeditious 時間: 2025-3-22 05:05
https://doi.org/10.1007/978-3-663-00188-1ugh its resonances in the middle ages and onto the Shakespearean stage.?It shows how parallels between apes and players, drawn out in Ovid and in early modern anti-theatrical writings, stimulated playwrights to interrogate the congruences, sometimes playfully and sometimes seriously.作者: 碌碌之人 時間: 2025-3-22 10:08 作者: 共同給與 時間: 2025-3-22 13:16 作者: 浸軟 時間: 2025-3-22 18:45 作者: 燈泡 時間: 2025-3-22 22:38 作者: 摘要 時間: 2025-3-23 01:49
-tue: Being a Man,rn stage to reinforce and threaten a (top) human’s sense of self. It looks at male sexual incontinence, bullies, slaves and fettered apes and shows how playwrights used the relational position that the monkey or ape inhabited in opposition to man to interrogate what it meant to be human.作者: 航海太平洋 時間: 2025-3-23 09:29 作者: 正式通知 時間: 2025-3-23 12:12 作者: CAB 時間: 2025-3-23 16:06 作者: Cupidity 時間: 2025-3-23 20:43 作者: Commission 時間: 2025-3-23 22:50
Conclusion: A Productive Distortionregrounds the topsy-turvy caused by collective purpose gone wrong. Shirley’s inverted world, where the ape-ward falls in love with his apes, becomes a microcosm of the political (dis)order of the 1650s.作者: 歡笑 時間: 2025-3-24 03:48
Habermas and Ricoeur’s Depth Hermeneutics Davenant’s use of the tumbling apes in ., disguising a dangerous political joke about Cromwell as a variety act. The contexts of the masque suggest that Davenant’s pragmatic co-operation with the Protectorate disguised a subversive Royalist agenda, using performing monkeys to expose Cromwell as fraud and usurper, if only to a coterie audience.作者: Generator 時間: 2025-3-24 10:15 作者: ANT 時間: 2025-3-24 13:55 作者: 女上癮 時間: 2025-3-24 15:06 作者: Bph773 時間: 2025-3-24 19:47
The End of the Antique Measures,l’s great ape discoveries, the new attitude to scientific investigation and the seventeenth-century stage’s increasing use of metatheatrical and intertheatrical devices created the conditions for the stage ape to be particularly expressive in a period of significant political and social unrest.作者: 撕裂皮肉 時間: 2025-3-25 02:39
Book 2024e apes glimpsed in Shakespeare’s plays in the wider context of the many uncelebrated uses by other playwrights, c. 1603-1659. The book investigates the theatrical appearances of real monkeys, actors dressed up as apes, and characters mistaken for them, arguing that the ape trope is so insistent in e作者: Lignans 時間: 2025-3-25 06:31
https://doi.org/10.1007/978-1-349-16763-0-scaffold staging and . inform the dramaturgy of masque and antimasque. Finally the chapter also considers the masque in the anthropological terms of Victor Turner and Richard Schechner, suggesting that we might consider it ‘pseudo-liminal’, like satire.作者: 無所不知 時間: 2025-3-25 08:59
Habermas and Ricoeur’s Depth Hermeneuticsre of the masque, and the ways in which its genre determines how its metaphors operate. The chapter ends with a discussion of why this matters, exploring the implications both for social justice and the very notion of history.作者: 輕而薄 時間: 2025-3-25 15:44 作者: 主動 時間: 2025-3-25 17:23 作者: 惹人反感 時間: 2025-3-25 22:56
Christian B. Lang,Leopold Mathelitsch Bruce Boehrer, Erica Fudge and Andreas H?fele amongst others. It explores how Shakespearean metatheatre addresses the use of animals, arguing that animal actors represent a significant additional metatheatrical resource.作者: 變形 時間: 2025-3-26 00:25 作者: 啞巴 時間: 2025-3-26 06:40
https://doi.org/10.1007/978-3-031-53987-9animal performance studies; early modern drama; metatheatre; monkeys and apes on stage; Shakespeare; poli作者: 侵蝕 時間: 2025-3-26 12:31 作者: floodgate 時間: 2025-3-26 13:03
The Renaissance Animal: Critics and Contexts, Bruce Boehrer, Erica Fudge and Andreas H?fele amongst others. It explores how Shakespearean metatheatre addresses the use of animals, arguing that animal actors represent a significant additional metatheatrical resource.作者: synchronous 時間: 2025-3-26 18:02
,‘Somewhat Like A Man’: Apes, Boy Players, Women, and women, ‘lesser’ beings, and monkeys is particularly powerful in plays written for the boys’ companies between 1600 and 1613. These associations play out in . (pr. 1605) and . (pr. 1606)—both written for the Children of the Chapel/Queen’s Revels—and in . (pr. 1611), according to its title page given by the ‘Children of the King’s Revels’.作者: 集合 時間: 2025-3-27 00:02 作者: 否決 時間: 2025-3-27 01:07 作者: RECUR 時間: 2025-3-27 05:25 作者: Legend 時間: 2025-3-27 11:05 作者: 輕而薄 時間: 2025-3-27 14:24 作者: PARA 時間: 2025-3-27 18:51
Cognitive Interests and Self-Reflection,in particular—where the focus on apes is more challenging to ‘top’ humans. It investigates some of the ways in which parody operated on the early modern stage to reinforce and threaten a (top) human’s sense of self. It looks at male sexual incontinence, bullies, slaves and fettered apes and shows ho作者: 跳脫衣舞的人 時間: 2025-3-28 00:57
https://doi.org/10.1007/978-1-349-16763-0uses on the way apes operate to facilitate the meaning created by the interaction of the antimasque and masque. The chapter looks at Jonson’s conception of the antimasque in comparison to the ways in which it was used by others such as Chapman and Beaumont. It argues that the traditions of place-and作者: Debate 時間: 2025-3-28 05:46
Society as Lifeworld and System,e Elector Palatine. Baboons were all the rage in the 1613 antimasques, possibly influenced by Andrew Battell’s recently published travellers’ tales of great apes, and appeared first in George Chapman’s .. The chapter argues that Chapman used monkeys as part of an ‘a(chǎn)ntic’ mode featured in the charact作者: characteristic 時間: 2025-3-28 06:46 作者: 寬敞 時間: 2025-3-28 13:32 作者: GRUEL 時間: 2025-3-28 16:08
Conclusion: A Productive Distortionnson did not use an ape because, unlike other antimasquers, it refuses to be contained or converted by the power of kingly majesty. The chapter moves on to Shirley’s absent-present jokes in his . (1634), and his troupe of monkeys in . (1653). The intrinsic metatheatricality of apes meant that Shirle作者: 災(zāi)難 時間: 2025-3-28 22:20
Habermas and Ricoeur’s Depth HermeneuticsBut, as the last chapter demonstrated, monkeys were not useful just to the Parliamentarian cause, as the works of Sir William Davenant?also confirm. This chapter explores . (1638) and . (1658), to show how Davenant used his monkeys, what they might have meant to their audiences, and how changing pol作者: Popcorn 時間: 2025-3-29 01:52
The Philosophy of Psychoanalysis After ,e political. It makes connections across chapters to show that humans can be seen essentially as civilised monkeys, and that the metaphorical monkey interrogates the nature of . and . especially in the systems of organisation which prop up institutions. The nature of theatre—with its close relations作者: 熄滅 時間: 2025-3-29 03:40 作者: Density 時間: 2025-3-29 08:02 作者: Perennial長期的 時間: 2025-3-29 13:42
,‘Somewhat Like A Man’: Apes, Boy Players, Women, and women, ‘lesser’ beings, and monkeys is particularly powerful in plays written for the boys’ companies between 1600 and 1613. These associations play out in . (pr. 1605) and . (pr. 1606)—both written for the Children of the Chapel/Queen’s Revels—and in . (pr. 1611), according to its title page g作者: perpetual 時間: 2025-3-29 18:52 作者: 受辱 時間: 2025-3-29 22:19
