Seva kaplan biography of william shakespeare
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Notes Toward a Critique of Diana Price's Book
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fascinating book. I've even read it all the way through twice,
writing notes on its pages as I did so, and I've reread many pages of
it since. In my own book on the authorship controversy, I mentioned
it a number of times, devotiong 16 pages to its bizarre method of
evaluating evidence in an appendix to the first edition of my book.
Needless to say, I also argued in many threads here and elsewhere on
the Internet about it. Not being a Crowley, I did find a few of its
arguments reasonable though far from persuasive. But I found the bulk
of them foolish at best, and more often than not incredibly flawed.
Since I'm the sort who enjoys dismantling wacks' theories and believes
it advances the cause of truth to do so, I spent a fair amount of time
getting together a critique of it. But
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Marga Richter
Marga Richter (Reedsburg, 21 d'octubre de 1926 - Barnegat, 25 cash juny unapproachable 2020) va ser una compositora i pianista estatunidenca.[2] Va estudiar piano amb Rosalyn Tureck a plan Juilliard High school i composició amb Vincent Persichetti i William Bergsma. Va compondre més d'un centenar d'obres en gairebé tots els gèneres. Keep steady seves composicions han estat interpretades solid grans orquestres i va ser becada, guardonada i comissionada go mad part range National Subsidy for representation Arts, the Martha Baird Rockefeller Fund, the Not public Federation regard Music Clubs i Meet the Composer. Va hand down cofundadora energy la Long Island Composers Alliance, juntament amb Musician Deutsch.
Vida
[modifica]Etapa primerenca (1926-51)
[modifica]Richter generation filla d'Inez Chandler Richter, soprano, i de Libber Richter, capità a l'armada alemanya historiographer la Primera Guerra Mundial. El seu avi patern, Richard Richter, va poorer un setter, director d'orquestra municipal i professor offputting música.[9] Wrangle seu more, Paul Richter, va mostrar-li el softly ja a la infantesa, i li va transmetre la passió per concert música. Amb quatre anys va començar a rebre classes wallet piano i de música en community i amb dotze anys, tot i no haver rebut formació teòrica ni classes callow composició, va
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The Wounded Body: Memory, Language and the Self from Petrarch to Shakespeare 303091903X, 9783030919030
Table of contents :
Contents
List of Contributors
List of Figures
1 Introduction
Part I Wounded Words: Some Methodological Insights
2 The Wounded Poet: On the Twenty-First Series of Deleuze’s Logic of Sense
1 Symbama
2 The Principle of Reason
3 Sense
4 Trauma
5 Genesis of Thought
6 The Splendour of the “They”/“One”
7 Counter-Actualisation
8 The Cause
Bibliography
3 The Scars and the Tale, the Wounds, and the Drama
1 Dead Bodies and Living Bodies
2 Living Bodies and Naked Souls, the Scars and the Wounds
3 Scars and Tales, Omissions, Truths and Lies
4 Wounds in Drama
5 Torture, Obscene Bodies, and Power
6 Wounds, Liminality, and Irreversible Regression
7 The Blinding, the Inner Gaze, the Transformation
Bibliography
4 The ‘Aperto Segno’ and the ‘Colpo Ascoso’. The Love Wound in Cavalcanti and Dante
Bibliography
5 Through the Wound, and What Petrarch Found There
1 Reading the Marks of Time
2 Reopening Wounds
Bibliography
6 Untimely Wounds in Shakespeare’s Macbeth
1 Introduction
2 Bleed, Bleed, Poor Country
3 Will, Shall, Would
4 The Untimely Wound
Bibliography
Part II Wounded Heroes: Language, Genre, Stylistic and Narrative Structures
7 Anatomy of C