Verfügbarkeit: Stage, stake, and scaffold | Technische Universität München

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Bibliographische Detailangaben
Beteilige Person:	Höfele, Andreas 1950- (VerfasserIn)
Format:	Buch
Sprache:	Englisch
Veröffentlicht:	Oxford [u.a.] Oxford Univ. Press 2011
Ausgabe:	1. publ.
Schlagwörter:	Shakespeare, William > 1564-1616 Drama Tiere > Motiv Hetzgarten Mensch > Motiv Hinrichtung Theater
Links:	http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=022567214&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=022567214&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA
Umfang:	XII, 315 S. Ill.
ISBN:	9780199567645

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Datensatz im Suchindex

DE-BY-UBR_call_number	65/HI 3385 H693
DE-BY-UBR_katkey	5479628
DE-BY-UBR_location	UB Lesesaal Philosophicum 1: Anglistik
DE-BY-UBR_media_number	069039640142
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adam_text	Titel: Stage, stake, and scaffold Autor: Höfele, Andreas Jahr: 2011 Contents List of Illustrations viii Preface ix Note on the Text xiii Introduction i 1. What beast was t then : Stretching the Boundaries in Macbeth 41 2. A Kingdom for a Scaffold 68 3. More than a creeping thing : Baiting Coriolanus 92 4. Cannibal-Animal: Figurations of the (In)Human in Montaigne, Foxe, and Shakespearean Revenge Tragedy 115 5. I ll see their trial first : Law and Disorder in Lear s Animal Kingdom 171 6. Revels End: The Tempest and After 229 Bibliography 279 Index 307 From Stage, Stake and Scaffold When the ground in Shakespeare s Elsinore is dug up Hamlet finds the skull of a clown: alas, poor Yorick! When archaeologists dig- up the area of the early modern London theatre district what they find are the skulls and bones of mastiff dogs or, occasionally, the skull of a bear. Like the pieces of brick and timber that allow us to trace the layout of the old playhouse, like the odd penny, button or belt buckle that recalls its long- gone patrons, these bone finds are testimony to what was a common afternoon s enter¬ tainment around 1600. Londoners had the choice either to see (or hear as the word often is) the latest play by Shakespeare, Dekker or Jonson or to watch a bear with a name like Sackerson, Harry Hunks, Nan Stiles or Bess of Bromley be roped or chained to a stake and set upon by specially trained mastiff dogs. The culture that set the stage for Juliet and her Romeo, for a FalstafF and a Rosalind also maintained a theatre nearby where animals could be watched tearing each other to pieces. Notable enough in itself, the truly remarkable thing about this is how much more it was than just coexistence. Play-acting and bear-baiting were joined in active collusion. Vying for the attention of the same spectators, they were playing not just side by side or competitively against each other, but also, in the literal sense of Latin colludere, together. Like Hamlet s old mole stirring underfoot, the animal bones buried in the foundations of the playhouse furnish the stage of human action with a ghostly double, a silent reminder of the non verbal sound and fury that accompanied the Shakespearean stage in the cultural work that has been described as the invention of the human , but will be explored here as the question of the human . In Shakespeare s London, the stage of the playhouse, the stake of the bear baiting arena, and the scaffold of public execution constituted an ensemble of spectacles that resembled each other and shared the same audiences. They all played out in the same basic performance space — a thcatre-in-the-round, a scaffold, stake, or platform surrounded by spectators — thus breeding an ever- ready potential for a transfer of images and meanings. Each of the three kinds of performance was always framed by an awareness of the other two, whose presence was never quite erased and often, indeed, emphatically foregrounded. Situating Shakespearean drama within its material environment, Andreas Höfele explores how this spill-over crucially informs Shakespeare s explor¬ ations into the construction and workings of the human . His dramatis personae are infused with a degree of animality that a later, more specifically Cartesian, anthropology would categorically efface. Readings based on such an anthropology tend to reduce Shakespeare s teeming multitude of animal references to a stable marker of difference, beast being everything man is not or ought not to be. In contrast, Höfele argues that Shakespearean notions of humanity rely just as much on inclusion as on exclusion of the animal. Humans and animals face each other across the species divide, but the divide proves highly permeable.
any_adam_object	1
author	Höfele, Andreas 1950-
author_GND	(DE-588)115834532
author_facet	Höfele, Andreas 1950-
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dewey-full	822.33
dewey-hundreds	800 - Literature (Belles-lettres) and rhetoric
dewey-ones	822 - English drama
dewey-raw	822.33
dewey-search	822.33
dewey-sort	3822.33
dewey-tens	820 - English & Old English literatures
discipline	Anglistik / Amerikanistik
edition	1. publ.
format	Book
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spellingShingle	Höfele, Andreas 1950- Stage, stake, and scaffold humans and animals in Shakespeare's theatre Shakespeare, William 1564-1616 (DE-588)118613723 gnd Drama (DE-588)4012899-4 gnd Tiere Motiv (DE-588)4185464-0 gnd Hetzgarten (DE-588)4482893-7 gnd Mensch Motiv (DE-588)4114567-7 gnd Hinrichtung (DE-588)4137805-2 gnd Theater (DE-588)4059702-7 gnd
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title	Stage, stake, and scaffold humans and animals in Shakespeare's theatre
title_auth	Stage, stake, and scaffold humans and animals in Shakespeare's theatre
title_exact_search	Stage, stake, and scaffold humans and animals in Shakespeare's theatre
title_full	Stage, stake, and scaffold humans and animals in Shakespeare's theatre Andreas Höfele
title_fullStr	Stage, stake, and scaffold humans and animals in Shakespeare's theatre Andreas Höfele
title_full_unstemmed	Stage, stake, and scaffold humans and animals in Shakespeare's theatre Andreas Höfele
title_short	Stage, stake, and scaffold
title_sort	stage stake and scaffold humans and animals in shakespeare s theatre
title_sub	humans and animals in Shakespeare's theatre
topic	Shakespeare, William 1564-1616 (DE-588)118613723 gnd Drama (DE-588)4012899-4 gnd Tiere Motiv (DE-588)4185464-0 gnd Hetzgarten (DE-588)4482893-7 gnd Mensch Motiv (DE-588)4114567-7 gnd Hinrichtung (DE-588)4137805-2 gnd Theater (DE-588)4059702-7 gnd
topic_facet	Shakespeare, William 1564-1616 Drama Tiere Motiv Hetzgarten Mensch Motiv Hinrichtung Theater
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