The Sound of Shakespeare
The 'Sound of Shakespeare' reveals the surprising extent to which Shakespeare's art is informed by the various attitudes, beliefs, practices and discourses that pertained to sound and hearing in his culture.
In this engaging study, Wes Folkerth develops listening as a critical practice, attending to the ways in which Shakespeare's plays express their author's awareness of early modern associations between sound and particular forms of ethical and aesthetic experience. Through readings of the acoustic representation of deep subjectivity in Richard III, of the 'public ear' in Antony and Cleopatra, the receptive ear in Coriolanus, the grotesque ear in A Midsummer Night's Dream, the 'greedy ear' in Othello, and the 'willing ear' in Measure for Measure, Folkerth demonstrates that by listening to Shakespeare himself listening, we derive a fuller understanding of why his works continue to resonate so strongly with is today.
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actor Antony and Cleopatra ass’s ears associations attention audience Bacon Bakhtin become bodily stratum body Bottom Brathwaite characters cognitive contemporary context Coriolanus critical Crooke culture deﬁne describes discourse Duke Duke’s early modern England example experience expression feminized festive ﬁeld ﬁgure ﬁnal ﬁnally ﬁnd ﬁrst greedy ear grotesque grotesque body Hamlet hath haue hautboys heard Henry Irving Iago idea identiﬁes inﬂuence Irving’s Isabella language listening London meaning Measure for Measure Menenius metaphor Michel Serres Midas Midsummer Night’s Dream narrative noise notes notion obedience one’s Othello pancake bell parable perceptual play’s playtexts political public ear radical reading receptivity recording reference Richard Richard Brathwaite Richard III scene sense sermons Shakespeare Shakespeare’s plays shawms signiﬁcant social sound and hearing soundscape sower speak speare’s speciﬁc speech spirits suggests texts theatre thou tion transformation understanding visual voice vulnerability Wilkinson William Shakespeare word Wright