Focusing on when Shakespeare's characters speak, rather than what they say, this book investigates what it means for them to speak in or out of turn, to interrupt or overlap, or to fail to speak at all, and how it informs debates about editing, rhetoric, prosody, and early modern performance practices.
Focusing on when Shakespeare's characters speak, rather than what they say, this book investigates what it means for them to speak in or out of turn, to interrupt or overlap, or to fail to speak at all, and how it informs debates about editing, rhetoric, prosody, and early modern performance practices.
Oliver Morgan is a Leverhulme Early Career Fellow at the University of Cambridge and a College Lecturer at Magdalene College. His research focuses on dialogue, both in the sense of fictionalised conversation (as in a play) and in the sense of literary exchange (as in an answer-poem or aparody).
Inhaltsangabe
Introduction Part One: Sequence 1: Speaking when you're spoken to 2: Figures of dialogue 3: Apostrophising the king 4: Taking asides Part Two: Timing 5: Have I finished? 6: Aposiopesis and the comforts of rhetoric 7: The terminal comma 8: The play of line and turn Conclusion
Introduction Part One: Sequence 1: Speaking when you're spoken to 2: Figures of dialogue 3: Apostrophising the king 4: Taking asides Part Two: Timing 5: Have I finished? 6: Aposiopesis and the comforts of rhetoric 7: The terminal comma 8: The play of line and turn Conclusion
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