Add to ORKGShakespearean sound effects (or sound defects) depend not only on hearing with the eye (as in Sonnet 23) but also on seeing with the ear, including through the vivid reports of the nuntius or messenger who produces not "ocular proof" but what might be called a (potentially unsound) "evidence effect," turning the ear into a substitute oculus or eye (Erasmus 1978:577).Issue title: Sound Effects
Even within an advanced print culture, poetry arguably never escapes the oral dimension. For Ezra Po...
Citation: Hedrick, D. (2016). What's the Worst Thing You Can Do to Shakespeare? Renaissance Quarterl...
By permission of Oxford University Press. This material is not altered, adapted, added to or deleted...
Since the play’s authorship in 1610, actor-managers and directors alike have struggled over staging ...
The sense of hearing plays an important role in Renaissance England theatre to the extent that we mo...
The literary canonisation of Hamlet means that it is now most frequently encountered as a printed te...
From the knocking on the gate after Macbeth’s murder of Duncan to the sound of Ugolino’s teeth on th...
The BBC’s first director general, John Reith, believed the plays of Shakespeare were perfect for rad...
In this paper, I shall look at what happens to sound in the course of this realization, especially i...
This collection derives from a conference held at the University of St. Andrews in 2006, one of an o...
From Orsino’s opening line, “If music be the food of love, play on,” to Feste’s concluding song of s...
This article examines William Shakespeare's plays for their relationship to Reformation music. It sk...
This thesis seeks to examine the use of sound on (and often, off-) the early modern stage. While its...
To what extent have the phonetic changes throughout the 16th and 17th century affected rhymes in Wil...
Today we consider theatre to be a visual performance medium, relying primarily on imagery for the cr...
Even within an advanced print culture, poetry arguably never escapes the oral dimension. For Ezra Po...
Citation: Hedrick, D. (2016). What's the Worst Thing You Can Do to Shakespeare? Renaissance Quarterl...
By permission of Oxford University Press. This material is not altered, adapted, added to or deleted...
Since the play’s authorship in 1610, actor-managers and directors alike have struggled over staging ...
The sense of hearing plays an important role in Renaissance England theatre to the extent that we mo...
The literary canonisation of Hamlet means that it is now most frequently encountered as a printed te...
From the knocking on the gate after Macbeth’s murder of Duncan to the sound of Ugolino’s teeth on th...
The BBC’s first director general, John Reith, believed the plays of Shakespeare were perfect for rad...
In this paper, I shall look at what happens to sound in the course of this realization, especially i...
This collection derives from a conference held at the University of St. Andrews in 2006, one of an o...
From Orsino’s opening line, “If music be the food of love, play on,” to Feste’s concluding song of s...
This article examines William Shakespeare's plays for their relationship to Reformation music. It sk...
This thesis seeks to examine the use of sound on (and often, off-) the early modern stage. While its...
To what extent have the phonetic changes throughout the 16th and 17th century affected rhymes in Wil...
Today we consider theatre to be a visual performance medium, relying primarily on imagery for the cr...
Even within an advanced print culture, poetry arguably never escapes the oral dimension. For Ezra Po...
Citation: Hedrick, D. (2016). What's the Worst Thing You Can Do to Shakespeare? Renaissance Quarterl...
By permission of Oxford University Press. This material is not altered, adapted, added to or deleted...