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|a (OCoLC)1222785891
|z (OCoLC)1222793563
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|a 1222793563
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|a 9781921867811
|q (electronic bk.)
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|a PR3072
|b .G77 2013
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|2 bicssc
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| 049 |
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|a MAIN
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| 100 |
1 |
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|a Groves, Peter
|e author.
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| 245 |
1 |
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|a Rhythm and Meaning in Shakespeare
|b A Guide for Readers and Actors
|c Peter Groves.
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| 264 |
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1 |
|b Monash University Publishing
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| 300 |
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|a 1 online resource
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| 336 |
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|a text
|b txt
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|a How did Shakespere intend that his plays be read? Rhythm and Meaning in Shakespeare explores the rhythmical organisation of Shakespeare's verse and how it creates and reinforces meaning both in the theatre and in the mind of the reader. Because metrical form in the pentameter is not passively present in the text but rather something that the performer must co-operatively re-create in speaking it, pentameter is what John Barton calls "stage-direction in shorthand", a supple instrument through which Shakespeare communicates valuable cues for performance. This book is thus an essential guide for actors wishing to perform in his plays, as well as a valuable resource for anyone wishing to enhance their understanding of and engagement with Shakespeare's verse. Has supplementary audio files.
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|a Vendor-supplied metadata.
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|a Cover; Title Page; Imprint Page and Copyright Information; Dedication; Acknowledgements; Contents; Introduction; Ch 1: Prosody -- The Music of Speech; 1.1: Syllables; 1.2: Lexical Stress: Major, Minor and Weak; 1.3: Accent: High and Low Syllables; 1.4: Syntactic Stress; 1.5: Beats: The Timing of Syllables; Ch 2: Pentameter and its Common Variations; 2.1: The Prototype: Verse and Line; 2.2: Changing the Pattern (Metrical Variation); 2.3: Changing the Representation of the Pattern (Prosodic Variation); 2.4: Other Variations in Rhythm; Ch 3: Pauses, Breaks and Transitions
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|a 3.1: Pauses and Short Lines3.2: Transitions Between Speakers; Ch 4: The Short Pentameter 1: Silent Offbeats; 4.1: The 'Jolt'; 4.2: The 'Drag'; Ch 5: The Short Pentameter 2: Silent Beats; 5.1: Rests that Cue Stage Business; 5.2: Rests that Cue Expressive Gestures; 5.3: The Deictic Rest; 5.4: Multiple Lacunae; Ch 6: Other Kinds of Verse in the Plays; 6.1: Short and Long Lines in Blank Verse; 6.2: Rhymed Verse; Ch 7: Taking it Further: Metrical Analysis; 7.1: What is Scansion (and Why is it Useful?); 7.2: Prosodic Politics: Independence, Domination and Liberation; 7.3: Scanning Elastic Words
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|a 7.4: Context and Accent7.5: Scanning Compounds; 7.6: Scanning and Stress Exchange; 7.7: Scanning Short Pentameters; Appendices; Appendix A: Differently Stressed Words; Appendix B: Pronouncing Shakespeare's Names; Appendix C: Stress in Monosyllables; Appendix D: Select Glossary; Appendix E: A List of Symbols used in Scansion; Appendix F: A List of Abbreviations; References; Back Cover
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| 600 |
1 |
0 |
|a Shakespeare, William,
|d 1564-1616
|x Literary style.
|0 http://id.loc.gov/authorities/subjects/sh85121048
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| 600 |
1 |
0 |
|a Shakespeare, William,
|d 1564-1616
|x Dramatic production.
|0 http://id.loc.gov/authorities/subjects/sh85120938
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| 600 |
1 |
7 |
|a Shakespeare, William,
|d 1564-1616.
|2 fast
|0 (OCoLC)fst00029048
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| 650 |
|
7 |
|a Performing Arts / Acting & Auditioning.
|2 bisacsh
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| 650 |
|
7 |
|a Literary style.
|2 fast
|0 (OCoLC)fst01136323
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| 650 |
|
7 |
|a Theater.
|2 fast
|0 (OCoLC)fst01149217
|
| 655 |
|
4 |
|a Electronic books.
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| 856 |
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| 928 |
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|t Library of Congress classification
|a PR3072.G77 2013
|l Online
|c UC-FullText
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