Add to ORKGFrom the knocking on the gate after Macbeth’s murder of Duncan to the sound of Ugolino’s teeth on the skull of his enemy, the suicide’s violent excretion of words and blood, Calvino’s “king who listens,” the Sicilian bull and the heavenly talking eagle, this essay considers the difference between the sound made by a voice and sounds that are merely instrumental or artificial as a feature of the body politic indicative of tyranny or justice
In the whole Comedy, but particularly in Inferno, Dante is constantly addressing our sense of hearin...
International audienceEven if insult can be conveyed by a gesture, an expression of the eye, a pause...
This article examines William Shakespeare's plays for their relationship to Reformation music. It sk...
Shakespearean sound effects (or sound defects) depend not only on hearing with the eye (as in Sonnet...
The sense of hearing plays an important role in Renaissance England theatre to the extent that we mo...
Many studies of the Gothic Romance have argued for the importance of sight and obscurity to its aest...
Since the play’s authorship in 1610, actor-managers and directors alike have struggled over staging ...
From the Washington University Senior Honors Thesis Abstracts (WUSHTA), 2017. Published by the Offic...
This paper discusses the implications of the wide-ranging use of sound in Osip Mandelstam’s 1933 ess...
This thesis seeks to examine the use of sound on (and often, off-) the early modern stage. While its...
In Shakespeare's plays, the voice is an agent of seduction and desire as well as a source of inspira...
First paragraph: '... you shall rise rattling in your chains, and rustling from your straw, to greet...
In The Sound of Poetry / The Poetry of Sound, Marjorie Perloff suggests that “however central the so...
The literary canonisation of Hamlet means that it is now most frequently encountered as a printed te...
When George Du Maurier’s infamous mesmerist Svengali performs on his elastic penny whistle, the inst...
In the whole Comedy, but particularly in Inferno, Dante is constantly addressing our sense of hearin...
International audienceEven if insult can be conveyed by a gesture, an expression of the eye, a pause...
This article examines William Shakespeare's plays for their relationship to Reformation music. It sk...
Shakespearean sound effects (or sound defects) depend not only on hearing with the eye (as in Sonnet...
The sense of hearing plays an important role in Renaissance England theatre to the extent that we mo...
Many studies of the Gothic Romance have argued for the importance of sight and obscurity to its aest...
Since the play’s authorship in 1610, actor-managers and directors alike have struggled over staging ...
From the Washington University Senior Honors Thesis Abstracts (WUSHTA), 2017. Published by the Offic...
This paper discusses the implications of the wide-ranging use of sound in Osip Mandelstam’s 1933 ess...
This thesis seeks to examine the use of sound on (and often, off-) the early modern stage. While its...
In Shakespeare's plays, the voice is an agent of seduction and desire as well as a source of inspira...
First paragraph: '... you shall rise rattling in your chains, and rustling from your straw, to greet...
In The Sound of Poetry / The Poetry of Sound, Marjorie Perloff suggests that “however central the so...
The literary canonisation of Hamlet means that it is now most frequently encountered as a printed te...
When George Du Maurier’s infamous mesmerist Svengali performs on his elastic penny whistle, the inst...
In the whole Comedy, but particularly in Inferno, Dante is constantly addressing our sense of hearin...
International audienceEven if insult can be conveyed by a gesture, an expression of the eye, a pause...
This article examines William Shakespeare's plays for their relationship to Reformation music. It sk...