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Wyszukujesz frazę "Sawyer, Robert" wg kryterium: Autor

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    Wyświetlanie 1-5 z 5
    Tytuł:
    “Forward and Backward”: Actants and Agency in Marlowe’s “Doctor Faustus” and Shakespeare’s “The Tempest”
    Autorzy:
    Sawyer, Robert
    Powiązania:
    https://bibliotekanauki.pl/articles/2048123.pdf
    Data publikacji:
    2021-12-30
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Posthumanism
    Actant
    Agency
    Prospero
    Doctor Faustus
    Mephistopheles
    Ariel
    Caliban
    Transmedial
    entanglement
    daemons
    Robert Boyle
    Thomas Hobbes
    Aristotle
    Opis:
    This essay presents a posthumanist reading of Shakespeare’s The Tempest and Marlowe’s Doctor Faustus, two plays which feature a scientist/magus who attempts to control his environment through personal agency. After detailing the analogy between the agency of posthuman figures and the workings of computerized writing machines, as Katherine Hayles has proposed, my essay shows how Kott’s writing, especially his notion of the “Grand Mechanism” of history, anticipates the posthumanist theories that are currently dominating literary assessments. His critique of The Tempest makes this idea perfectly clear when he disputes the standard notion that Prospero represents a medieval magus; he instead argues that Prospero was more akin to Leonardo DaVinci, “a master of mechanics and hydraulics,” one who would have embraced revolutionary advances in “astronomy” as well as “anatomy” (1974: 321).
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2021, 24, 39; 105-119
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Performing Protest in Cross-Cultural Spaces: Paul Robeson and Othello
    Autorzy:
    Sawyer, Robert
    Powiązania:
    https://bibliotekanauki.pl/articles/647936.pdf
    Data publikacji:
    2017
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Paul Robeson
    Othello
    Savoy Theatre
    Margaret Webster
    Spanish Civil War
    Henri Lefebvre
    Peggy Ashcroft
    All God’s Chillun Got Wings
    “Ol’ Man River”
    Show Boat
    Josè Ferrer
    Paul Connerton
    commemoration
    fascism
    protest
    Opis:
    When the famous African-American actor and singer Paul Robeson played the lead in Shakespeare’s Othello in London in 1930, tickets were in high demand during the production’s first week. The critical response, however, was less positive, although the reviews unanimously praised his bass-baritone delivery. When Robeson again played Othello on Broadway thirteen years later, critics praised not only his voice but also his acting, the drama running for 296 performances. My argument concerning Robeson uses elements first noted by Henri Lefebvre in his seminal work, The Production of Space, while I also draw on Paul Connerton’s work on commemorative practices. Using spatial and memorial theories as a backdrop for examining his two portrayals, I suggest that Robeson’s nascent geopolitical awareness following the 1930 production, combined with his already celebrated musical voice, allowed him to perform the role more dramatically in 1943.
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2017, 15, 30; 77-90
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    “All’s Well that Ends Welles”: Orson Welles and the “Voodoo”<i>Macbeth</i>
    Autorzy:
    Sawyer, Robert
    Powiązania:
    https://bibliotekanauki.pl/articles/647971.pdf
    Data publikacji:
    2016-06-01
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    multicultural
    Caribbean
    Orson Welles
    nationality
    voodoo
    Shakespeare
    Macbeth
    race
    Opis:
    The Federal Theatre Project, which was established in 1935 to put unemployed Americans back to work after the Great Depression, and later employed over 10,000 people at its peak, financed one particularly original adaptation of Shakespeare: the “voodoo” Macbeth directed by Orson Welles in 1936. Debuting in Harlem with an all-black cast, the play’s setting resembled a Haiti-like island instead of ancient Scotland, and Welles also supplemented the witches with voodoo priestesses, sensing that the practice of voodoo was more relevant, if not more realistic, for a contemporary audience than early modern witchcraft. My essay will consider how the terms “national origins” and “originality” intersect in three distinct ways vis-a-vis this play: The Harlem locale for the premier, the Caribbean setting for the tragedy, and the federal funding for the production.
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2016, 13; 87-103
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    The Institutionalization of Shakespeare Studies in the United Kingdom
    Autorzy:
    Sawyer, Robert
    Powiązania:
    https://bibliotekanauki.pl/articles/39768493.pdf
    Data publikacji:
    2023
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    I. A. Richards
    William Empson
    Arthur-Quiller Couch
    F. R. Leavis
    'Scrutiny' Magazine
    'The Newbolt Report'
    Caroline Spurgeon
    Opis:
    This essay is devoted to Shakespearean criticism in the UK between 1920 and 1940. I begin by examining the origins of Shakespeare study at Oxford and Cambridge, by figures such as I. A. Richards (1929) and William Empson (1930). I follow this by looking at F. R. Leavis and his journal Scrutiny, but I also trace his influence on his fellow Cambridge colleagues highlighting instances where they collaborated, as did Caroline Spurgeon with Arthur Quiller-Couch (the latter two co-editors of the New Cambridge Shakespeare series, 1921-1966) on the famous 1921 study for the British Board of Education entitled “The Teaching of English in England”—also referred to as The Newbolt Report, after the chairman of the committee, Sir Henry Newbolt.
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2023, 27, 42; 15-29
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Introduction: Shakespeare in Cross-Cultural Spaces
    Autorzy:
    Sawyer, Robert
    Panjwani, Varsha
    Powiązania:
    https://bibliotekanauki.pl/articles/647948.pdf
    Data publikacji:
    2017
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    -
    Opis:
    -
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2017, 15, 30; 9-14
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-5 z 5

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