This book shows that the sounds of the early modern stage do not only signify but are also significant. Sounds are weighted with meaning, offering a complex system of allusions. Playwrights such as Jonson and Shakespeare developed increasingly experimental soundscapes, from the storms of King Lear (1605) and Pericles (1607) to the explosive laboratory of The Alchemist (1610). Yet, sound is dependent on the subjectivity of listeners; this book is conscious of the complex relationship between sound as made and sound as heard. Sound effects should not resound from scene to scene without examination, any more than a pun can be reshaped in dialogue without acknowledgement of its shifting connotations. This book listens to sound as a rhetorical device, able to penetrate the ears and persuade the mind, to influence and to affect.
Les informations fournies dans la section « Synopsis » peuvent faire référence à une autre édition de ce titre.
Laura Jayne Wright is a Leverhulme Early Career Fellow at Newcastle University
Les informations fournies dans la section « A propos du livre » peuvent faire référence à une autre édition de ce titre.
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8vo Hardcover. Etat : Very Good. 1st Edition. 236p. Text is unmarked on white pages. Black and lime green matte boards are clean and pointed with faint remnants of a removed sticker on front panel. Binding is firm, hinges are securely attached. No jacket issued. N° de réf. du vendeur 114407
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Hardcover. Etat : Brand New. 288 pages. 8.50x5.43x0.63 inches. In Stock. This item is printed on demand. N° de réf. du vendeur __152615918X
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Vendeur : Rarewaves.com USA, London, LONDO, Royaume-Uni
Hardback. Etat : New. This book shows that the sounds of the early modern stage do not only signify but are also significant. Sounds are weighted with meaning, offering a complex system of allusions. Playwrights such as Jonson and Shakespeare developed increasingly experimental soundscapes, from the storms of King Lear (1605) and Pericles (1607) to the explosive laboratory of The Alchemist (1610). Yet, sound is dependent on the subjectivity of listeners; this book is conscious of the complex relationship between sound as made and sound as heard. Sound effects should not resound from scene to scene without examination, any more than a pun can be reshaped in dialogue without acknowledgement of its shifting connotations. This book listens to sound as a rhetorical device, able to penetrate the ears and persuade the mind, to influence and to affect. N° de réf. du vendeur LU-9781526159182
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