Making Sense of Shakespeare
This study undertakes to bring Shakespearean scholars and students alive to reading the plays and poetry with a much higher engagement of physical sense, body, and sense imagination than that to which we are usually accustomed. It builds upon a broadly based investigation of scientific literature concerning bodily perceptions and responses. Making Sense of Shakespeare also demonstrates its approach to reading and provides practical suggestions for students and teachers in pursuing sense reading.
What people are saying - Write a review
We haven't found any reviews in the usual places.
Note on Shakespeares Text
Abstract and Concrete Senses in Shakespeare
SenseReading Shakespeares Sounds
SenseReading Shakespeares Nonvisual Images
Resistance to Shakespearean SenseReading
Further Contexts of Resistance to Shakespearean SenseReading
Working Beyond Resistance
Undermind Shakespeare SenseReading as SelfShaping and PlayShaping
SenseReading in the Classroom
Conclusion Walking Westward
abstract action activity aesthetic affect appeals associated attention become behavior bodily body breath changes character close cognition concrete connection course criticism cultural Dream embodied emotion energy engagement English example experience explore expression fear feel forms give Hamlet hand hear heart hope human imagery images imagination internal interpretation Introduction John Juliet kinesthetic language Lear literary literature lives London look Louise Rosenblatt Macbeth meaning meet memory mind move movements nature one's organ passage patterns perception performance perhaps persons physical play poetry practice produce readers reading relations resistance response rhythms Romeo scene seems sensations sense sense-reading sensory Shake Shakespeare social somatic sounds speak speech stand suggest teachers teaching thee Theory thou thought tion touch turn University Press verse visual Witch York
Page 107 - First Witch. When shall we three meet again In thunder, lightning, or in rain?
Page 135 - Let me not to the marriage of true minds Admit impediments. Love is not love Which alters when it alteration finds, Or bends with the remover to remove: O, no! it is an ever-fixed mark, That looks on tempests, and is never shaken, It is the star to every wandering bark, Whose worth's unknown, although his height be taken.
Page 127 - Shall I compare thee to a summer's day? Thou art more lovely and more temperate: Rough winds do shake the darling buds of May, And summer's lease hath all too short a date...
Page 58 - Why should a dog, a horse, a rat, have life, And thou no breath at all ? Thou 'It come no more, Never, never, never, never, never!
Page 28 - O Romeo, Romeo! wherefore art thou Romeo? Deny thy father, and refuse thy name; Or, if thou wilt not, be but sworn my love, And I'll no longer be a Capulet.
Page 46 - Fear no more the frown o' the great; Thou art past the tyrant's stroke; Care no more to clothe and eat; To thee the reed is as the oak. The sceptre, learning, physic, must All follow this, and come to dust.
Page 28 - What's Montague? it is nor hand, nor foot, Nor arm, nor face, nor any other part Belonging to a man. O, be some other name! What's in a name? that which we call a rose By any other name would smell as sweet; So Romeo would, were he not Romeo call'd, Retain that dear perfection which he owes Without that title.
Page 28 - Tis but thy name that is my enemy; Thou art thyself, though not a Montague. What's Montague? it is nor hand, nor foot, Nor arm, nor face, nor any other part Belonging to a man.
Page 96 - O thou weed, Who art so lovely fair and smell'st so sweet That the sense aches at thee, would thou hadst ne'er been born ! Des. Alas, what ignorant sin have I committed ? Oth. Was this fair paper, this most goodly book, Made to write
Page 107 - Fair is foul, and foul is fair: Hover through the fog and filthy air.