A Buddhist's Shakespeare: Affirming Self-deconstructionsFairleigh Dickinson Univ Press, 1994 - 273 psl. "In this argument, Howe applies his Buddhist perspective to some key ideas of neo-Marxists, Michel Foucault, and new historicists concerning the relations between literature and society. This perspective provides new challenges to the Marxist view that society necessarily determines our consciousness, Foucault's position that everyone in society is necessarily enclosed within a power field of competing and therefore oppositional interests, and the new historicist position that a society's established authority maintains itself in part by legitimating dissent in order to contain it. Howe proposes instead the possibility of a non-oppositional, nonideological posture in which one can stand apart from the class oppositions of Marx, the power field of Foucault, and the containment of dissent alleged by many new historicists, yet in a way which actually reduces the misery caused by social injustice." "Engaging contemporary theoretical debate, Howe draws a parallel between Jacques Derrida's ideas about "differance" - in which "presence" occurs only in "absence" - and the Buddhist idea of shunyata, the fullness of emptiness. He also shows the similarities between Derrida's and Buddhism's critiques of reason and language.". |
Knygos viduje
Rezultatai 1–5 iš 38
18 psl.
... allows room to explore the creative powers of individuals within society , to explore their choices and their reasons for making them . But in practice , once again it is clear that society sets the terms in which the subjects live and ...
... allows room to explore the creative powers of individuals within society , to explore their choices and their reasons for making them . But in practice , once again it is clear that society sets the terms in which the subjects live and ...
25 psl.
... allows Buddhist " skillful means " within this transparent world . Because the play also deconstructs its own truth - value , it places us in the audience at a vantage point like Hamlet's from which we are well positioned to appreciate ...
... allows Buddhist " skillful means " within this transparent world . Because the play also deconstructs its own truth - value , it places us in the audience at a vantage point like Hamlet's from which we are well positioned to appreciate ...
30 psl.
... allows Bottom his equanim- ity in the face of the extraordinary situations he faces . There is a basic intelligence at work in him . Despite his incohgruousness , we are as likely to enjoy him on his own level as we are to laugh at him ...
... allows Bottom his equanim- ity in the face of the extraordinary situations he faces . There is a basic intelligence at work in him . Despite his incohgruousness , we are as likely to enjoy him on his own level as we are to laugh at him ...
31 psl.
... allowing power to flow to those who want it , and it is easily exploited by those who do treat the world as an adversary . Thus Bottom plays at the royal wedding at the royal sufferance . His simple wish to serve cedes power to the ...
... allowing power to flow to those who want it , and it is easily exploited by those who do treat the world as an adversary . Thus Bottom plays at the royal wedding at the royal sufferance . His simple wish to serve cedes power to the ...
37 psl.
... allow himself to enjoy this little play because he knows Pyramus and Thisby to be not only art , but incompetent art done by simple folk with purely " good " intentions . Having PACIFYING ACTION IN A MIDSUMMER NIGHT'S DREAM 37.
... allow himself to enjoy this little play because he knows Pyramus and Thisby to be not only art , but incompetent art done by simple folk with purely " good " intentions . Having PACIFYING ACTION IN A MIDSUMMER NIGHT'S DREAM 37.
Turinys
27 | |
51 | |
The Merchant of Venice as Sword of Prajna | 74 |
The Cause of Suffering and the Birth of Compassion in Julius Caesar | 96 |
The Emptiness of Differenceand the Six Samsaric Realms in Antony and Cleopatra | 114 |
Prince Hals Deferral as the Ground of Free Play | 146 |
Further Glimpses of Free Play in Hamlet and King Lear | 168 |
The Tempest | 191 |
The Sword of Prajna in the Visual Arts of the Continent | 200 |
Shakespeares Access to Renaissance Practices in the Visual Arts | 223 |
Notes | 228 |
Glossary of Buddhist and BuddhistRelated Terms | 253 |
List of Works Cited | 256 |
Index | 270 |
Pagrindiniai terminai ir frazės
actor affirmation Antony and Cleopatra Antony's argues art of resemblance artists audience authority awareness Bassanio becomes believe Bottom Brutus Brutus's Buddhist Buddhist view character Chögyam Trungpa choose consciousness context conventional create death deconstruction deferred Derrida desire différance discourse dramatic Duccio Elizabethan emphasizes emptiness enacts example experience fact Falstaff Foucault give Greenblatt Hal's Hamlet Holbein honor Hotspur human idea identity illusion implications interpretation Jonathan Dollimore Julius Caesar king Lear lovers metadramatic Midsummer Night's Dream nature nirvana Noble ourselves painting perspective play play's point of view political Portia Prajna present prince Prospero Pyramus and Thisby realistic reality relationship Renaissance representation Richard role Roman Roy Strong samsara scene seems self-image sense Shakespeare shows Shylock situation stage Stephen Greenblatt Stephen Orgel style subversion sunyata Tennenhouse texts theater theatrical Theseus things tion transparent Trungpa truth University Press vantage point viewer visual arts
Populiarios ištraukos
99 psl. - When beggars die there are no comets seen ; The heavens themselves blaze forth the death of princes.
134 psl. - Nietzschean affirmation, that is the joyous affirmation of the play of the world and of the innocence of becoming, the affirmation of a world of signs without fault, without truth, and without origin which is offered to an active interpretation.
178 psl. - tis not to come; if it be not to come, it will be now ; if it be not now, yet it will come : the readiness is all : Since no man, of aught he leaves, knows, what is't to leave betimes ?
126 psl. - O, wither'd is the garland of the war, The soldier's pole is fall'n : young boys and girls Are level now with men ; the odds is gone, And there is nothing left remarkable Beneath the visiting moon.
29 psl. - I have had a most rare vision. I have had a dream, — past the wit of man to say what dream it was : man is but an ass, if he go about to expound this dream.
118 psl. - Tis paltry to be Caesar ; Not being fortune, he 's but fortune's knave', A minister of her will ; And it is great To do that thing that ends all other deeds...
136 psl. - tis most certain, Iras. Saucy lictors Will catch at us, like strumpets ; and scald rhymers Ballad us out o' tune : the quick comedians Extemporally will stage us, and present Our Alexandrian revels : Antony Shall be brought drunken forth, and I shall see Some squeaking Cleopatra boy my greatness I
125 psl. - Give me my robe, put on my crown; I have Immortal longings in me: Now no more The juice of Egypt's grape shall moist this lip: — Yare, yare, good Iras; quick. — Methinks, I hear Antony call; I see him rouse himself To praise my noble act; I hear him mock The luck of Caesar, which the gods give men To excuse their after wrath: Husband, I come: Now to that name my courage prove my title ! I am fire, and air; my other elements I give to baser life.
45 psl. - If we shadows have offended. Think but this, and all is mended, That you have but slumber'd here, While these visions did appear. And this weak and idle theme, No more yielding but a dream, Gentles, do not reprehend: If you pardon, we will mend.