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Sixteen master translators have chosen their favorite stories from Latin America. Writers and translators include Edith Grossman, Helen R. Lane, Augusto Monterroso, Gregory Rabassa, Alfonso Reyes, Hardie St. Martin, and Luisa Valenzuela. An introductory essay on translation by Ilan Stavans and an epilogue by Margaret Sayers Peden provide entertaining food for thought.
At the same time, it documents how Brook, Ninagawa, and Strehler adapted and applied African storytelling techniques, textual deconstruction, traditional Japanese art and theatrical forms, and Italian stage tradition to the performance of Shakespeare and investigates how these three directors' diverse applications to the same canonical work have contributed to the development of the modern stage director."--Jacket.
Clear mirrors and The Geneva Bible, revolutionary innovations of the Elizabethan age, inspired Shakespeare’s drive towards a new purpose for drama. Shakespeare reversed the conventional mirror metaphor for drama, implying drama cannot reflect the substance of human nature, and developed a method of characterization, through metadrama, self-awareness and soliloquy, to project St. Paul’s idea of conscience onto the Elizabethan stage. This revolutionary method of characterization, aesthetic existence beyond performance, has long been sensed but remains frustratingly uncategorized. Shakespeare’s Mirrors charts the invention of a drama that staged the unstageable: St. Paul’s metaphysical conception of human nature glimpsed through a looking glass darkly.
Written in the midst of World War II after its author emigrated to America, "The Sea and the Mirror" is not merely a great poem but ranks as one of the most profound interpretations of Shakespeare's final play in the twentieth century. As W. H. Auden told friends, it is "really about the Christian conception of art" and it is "my Ars Poetica, in the same way I believe The Tempest to be Shakespeare's." This is the first critical edition. Arthur Kirsch's introduction and notes make the poem newly accessible to readers of Auden, readers of Shakespeare, and all those interested in the relation of life and literature--those two classic themes alluded to in its title. The poem begins in a theater after a performance of The Tempest has ended. It includes a moving speech in verse by Prospero bidding farewell to Ariel, a section in which the supporting characters speak in a dazzling variety of verse forms about their experiences on the island, and an extravagantly inventive section in prose that sees the uncivilized Caliban address the audience on art--an unalloyed example of what Auden's friend Oliver Sachs has called his "wild, extraordinary and demonic imagination." Besides annotating Auden's allusions and sources (in notes after the text), Kirsch provides extensive quotations from his manuscript drafts, permitting the reader to follow the poem's genesis in Auden's imagination. This book, which incorporates for the first time previously ignored corrections that Auden made on the galleys of the first edition, also provides an unusual opportunity to see the effect of one literary genius upon another.
Explores the rise of the idea of nothing in Western modernity and how its figuration is transforming and offering new possibilities. In this groundbreaking, interdisciplinary history of ideas, Andrew W. Hass explores the ascendency of the concept of nothing into late modernity. He argues that the rise of the reality of nothing in religion, philosophy, and literature has taken place only against the decline of the concept of One: a shift from a sovereign understanding of the One (unity, universality) toward the “figure of the O”—a cipher figure that, as nonentity, is nevertheless determinant of other realities. The figuring of this O culminates in a proliferation of literary expressions of nothingness, void, and absence from 1940 to 1960, but by century’s end, this movement has shifted from linear progression to mutation, whereby religion, theology, philosophy, literature, and other critical modes of thought, such as feminism, merge into a shared, circular activity. The writer W. H. Auden lends his name to this O, his long poetic work The Sea and the Mirror an exemplary manifestation of its implications. Hass examines this work, along with that of a host of writers, philosophers, and theologians, to trace the revolutionary hermeneutics and creative space of the O, and to provide the reasoning of why nothing is now such a powerful force in the imagination of the twenty-first century, and of how it might move us through and beyond our turbulent times.
If the postmodern is a collage--as some critics have suggested--or if collage is itself a kernel of the postmodern, what does this mean for our way of understanding the world? The Frame and the Mirror uses this question to probe the distinctive character of the postmodern situation and the philosophical problem of representation. Brockelman's work is itself a collage of sorts, using juxtapositions of critics and art historical figures to conduct a debate between such figures as Karsten Harries, Gianni Vattimo, Rosalind Krauss, Immanuel Kant, Jean-Francois Lyotard, Slavo Zizek, and Le Corbusier about issues such as truth in art, perspectivism, theatricality, the sublime, psychoanalytic theory, politics, and urbanism. More than an introduction to the postmodern, The Frame and the Mirror advances our understanding of the contemporary world by relating its features to the peculiar characteristics of collage. Ultimately, Brockelman shows how collage demands that we reinterpret modernity, conceiving of it as suspended between a loss of certainty and a new kind of knowledge about the human condition. In doing so, his work challenges many of the claims made in the name of postmodernism--and offers in their place a new and ironic view of the cultural space in which contemporary and historical events occur.
In this innovative study, Benjamin Kahan traces the elusive history of modern celibacy. Arguing that celibacy is a distinct sexuality with its own practices and pleasures, Kahan shows it to be much more than the renunciation of sex or a cover for homosexuality. Celibacies focuses on a diverse group of authors, social activists, and artists, spanning from the suffragettes to Henry James, and from the Harlem Renaissance's Father Divine to Andy Warhol. This array of figures reveals the many varieties of celibacy that have until now escaped scholars of literary modernism and sexuality. Ultimately, this book wrests the discussion of celibacy and sexual restraint away from social and religious conservatism, resituating celibacy within a history of political protest and artistic experimentation. Celibacies offers an entirely new perspective on this little-understood sexual identity and initiates a profound reconsideration of the nature and constitution of sexuality.
This collection models an approach to Shakespeare and cinema that is concerned with the other side of Shakespeare's Hollywood celebrity, taking the reader on a practical and theoretical tour through important, non-mainstream films and the oppositional messages they convey. The collection includes essays on early silent adaptations of 'Hamlet', Greenway's 'Prospero's Books', Godard's 'King Lear', Hall's 'A Midsummer Night's Dream', Taymor's 'Titus', Polanski's 'Macbeth', Welles 'Chimes at Midnight', and Van Sant's 'My Own Private Idaho'.
British filmmaker Peter Greenaway says life offers only two subjects: "One is sex and the other is death." Greenaway uses both and romanticizes neither; indeed, his goal is the antithesis of the sanitary and sentimental portrayal of humanity. Although his films have met with outrage from some viewers, cult audiences praise them for insightful messages: that people are detached from violence because they fail to see others' bodies as identical to their own; that predatory capitalism has caused humans to lose sight of our shared physicality and mortality; and that taboos are simply a system allowing people to exercise power over others. This book examines nine of Greenaway's feature films, dedicating a chapter to each: The Draughtsman's Contract; A Zed and Two Noughts; The Belly of an Architect; Drowning by Numbers; The Cook, the Thief, His Wife and Her Lover; Prospero's Books; The Baby of Macon; The Pillow Book; and 8 1⁄2 Women. The author examines the characters and plot, studies the structure and elements of the story, explores Greenaway's motives and reactions, and reveals audience reactions, including comments from viewers. A filmography lists films written and directed by Peter Greenaway from 1962 to 2004.
First published in 1936, the classic work Roots of Brazil by Sérgio Buarque de Holanda presented an analysis of why and how a European culture flourished in a large tropical environment that was totally foreign to its traditions, and the manner and consequences of this development. In The Other Roots, Pedro Meira Monteiro contends that Roots of Brazil is an essential work for understanding Brazil and the current impasses of politics in Latin America. Meira Monteiro demonstrates that the ideas expressed in Roots of Brazil have taken on new forms and helped to construct some of the most lasting images of the country, such as the "cordial man," a central concept that expresses the Ibero-American cultural and political experience and constantly wavers between liberalism's claims to impersonality and deeply ingrained forms of personalism. Meira Monteiro examines in particular how "cordiality" reveals the everlasting conflation of the public and the private spheres in Brazil. Despite its ambivalent relationship to liberal democracy, Roots of Brazil may be seen as part of a Latin Americanist assertion of a shared continental experience, which today might extend to the idea of solidarity across the so-called Global South. Taking its cue from Buarque de Holanda, The Other Roots investigates the reasons why national discourses invariably come up short, and shows identity to be a poetic and political tool, revealing that any collectivity ultimately remains intact thanks to the multiple discourses that sustain it in fragile, problematic, and fascinating equilibrium.