Eyes to Wonder, Tongue to Praise

Agnieszka Pokojska, Agnieszka Romanowska

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ISBN/ISSN:

978-83-233-3441-5

DOI:

Wydawnictwo:

Wydawnictwo Uniwersytetu Jagiellońskiego

Rok wydania:

2013

Liczba stron:

305

XML:ISBN/ISSN:

ONIX MARC21

Bibliografia:

. Eyes to Wonder, Tongue to Praise. Red. Pokojska, Agnieszka; Romanowska, Agnieszka . Kraków: Wydawnictwo Uniwersytetu Jagiellońskiego, 2013, 305 s. ISBN 978-83-233-3441-5

Bibliografia refWorks:

RT Book, Whole

SR Electronic(1)

A2 Pokojska, A.

A2 Romanowska, A.

T1 Eyes to Wonder, Tongue to Praise

PB Wydawnictwo Uniwersytetu Jagiellońskiego

PP Kraków

YR 2013

SN 978-83-233-3441-5

Bibliografia BibTex:

@Book{ 145473, author = "", editor = "Pokojska, Agnieszka and Romanowska, Agnieszka", title = "Eyes to Wonder, Tongue to Praise", publisher = "Wydawnictwo Uniwersytetu Jagiellońskiego", year = "2013", address = "Kraków", isbn = "978-83-233-3441-5" }

Bibliografia endNote:

TY - BOOK

AU -

ED - Pokojska, Agnieszka

ED - Romanowska, Agnieszka

TI - Eyes to Wonder, Tongue to Praise

PB - Wydawnictwo Uniwersytetu Jagiellońskiego

CY - Kraków

PY - 2013

SN - 978-83-233-3441-5

ER -

Netografia (standard APA):

. Red. Pokojska, Agnieszka; Romanowska, Agnieszka. Eyes to Wonder, Tongue to Praise [baza danych online] Kraków: Wydawnictwo Uniwersytetu Jagiellońskiego, 2013 [dostęp: 28 04 2024]. Dostęp w Ibuk Libra: https://libra.ibuk.pl/reader/eyes-to-wonder-tongue-to-praise-agnieszka-pokojska-agnieszka-145473.

Shakespeare, performance, criticism, translation, reception, literary studies

This book is a collection of articles written for Professor Marta Gibińska by her colleagues and friends, from universities both in Poland and abroad. The texts presented in this volume cover a wide spectrum of topics. Part I, devoted to Shakespea...

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ISBN/ISSN:

978-83-233-3441-5

DOI:

Wydawnictwo:

Wydawnictwo Uniwersytetu Jagiellońskiego

Rok wydania:

2013

Liczba stron:

305

XML:ISBN/ISSN:

ONIX MARC21

Preface10
List of Publications by Professor Marta Gibińska16
PART I24
Teresa Bałuk-Ulewiczowa, The Mirror of Princes and the Distorting Mirror in Shakespeare’s Chronicle Plays26
Terence McCarthy, Shakespeare, Malory and The Sousing of Sir Dagonet44
Hans-Jürgen Diller, Wrath and Anger in the Time of Shakespeare58
Michael Hattaway, The “Closet” Scene in Hamlet: Freud, Localisation, Screen Versions, and Essentialist Characterisation72
Boika Sokolova, Shooting “the King-Becoming Graces”: Malcolm in Rupert Goold’s Macbeth, DVD (2010)88
Andrzej Żurowski, Multicultural Shakespeare on the Contemporary Stage98
Jerzy Limon, The Multifarious Times of One Body108
Jacek Fabiszak, “Ugly” Tempests: The Aesthetics of Turpism in Derek Jarman’s Film and Krzysztof Warlikowski’s Stage Production116
Barbara Sosień, Rosalind’s Robe: Who Is Who, or Shakespeare à la française130
Anna Cetera, “Music to hear . . .”: On Translating Sonnet VIII by William Shakespeare142
PART II150
Małgorzata Grzegorzewska, “My Last Duchess” or “The Radiance of the Painting”: Jean-Luc Marion Reads the Poetry of Robert Browning152
Teresa Bela, “‘Any good?’ ‘Will this do?’”: Reflections on the Poetry of C.S. Lewis164
Elżbieta Tabakowska, Idealized Cognitive Models, Typicality Effects, Translation178
Clarinda Calma, “Death Thou Shalt Die”: Resurrection in John Donne’s Prose and Poetry192
Michał Choiński, From Pulpit to Stage – the Rhetorical Theatricality of George Whitefield’s Preaching206
Olga Kubińska, “What a gallant mourning ribbon is this, which I wear.” The Function of the Title Pages in the Shaping of the Character in Early Modern English Execution Narratives220
Regina Bochenek-Franczakowa, A Revolutionary Inspiration: Laurence Sterne’s Tristram Shandy and Ann’quin Bredouille by Jean-Claude Gorjy234
Bożena Kucała, The Indian Mutiny and English Fiction246
Barbara Rumbinas, The Pioneers: Reflections of America’s Anxiety about Frontier Expansion256
Anna Gawlikowska, Imprisonment and False Liberation in E.L. Doctorow’s Ragtime266
Monika Coghen, Coleridge’s Zapolya: Between Dramatic Romance and Gothic Melodrama278
Michał Palmowski, Stage Directions in the Avant-garde Drama of Kenneth Koch and Konstanty Ildefons Gałczyński292

TeMirrorofPrincesandtheDistortingMirror...

thatthesameismostiustandrespondenttootherauncientandpraiseablecom-

monwealesl(emphasisadded)

Manycompilersofmirror-booksdidlikewiselIntheEpistleDedicatoriead-

dressedtotheEarlofEssexatthebeginningofhistranslationofGiovam-

battistaNenna)sIlNennio(KelsoNol634;EnglishversionNenniooraTreatise

ofNobility,KelsoNol493),WilliamJoneswrote:

YourL[ordship)s]perfectionscanwellwitnesse,thatyourdemerites,haueadded

suchgracetoyourNobilitie,thatnotonlythecommonsortdoeadmire,butthe

courtlikewiseandthechiefestglorythereof,doetestiﬁe,thatboththeseconioyned

togetherinyourL[ordship]doemakeyouperfectlyNoblelButifyourH[ighness]

wouldbeholdatruerIdeaofright,&accomplishedNobility,thenthisAuthor

writethof,yourL[ordship]needbutasinaglasstoviewyourselfe,andthereby

tosetdownewhatyouseeinyourselfel(emphasisadded)

WenowhaveaninsightintothefullmeaningofthemetaphorlAsArthur

Kinney(2004:5)writes,TudorsandStuartscould“relyonmirrorsasfunda-

mental(andtrustworthy)meansofself-knowledge,followingthedictate,as

oldasSocrates,toknowthyselfl”Butthemirrorwasalsoaninstrumentforthe

payingofcompliments,ﬂattery,or,intheextremecase,sycophancyandself-

aggrandisementlItisinthislight,Ibelieve,thatweshouldreadthesymbolic

meaningofthemirror-smashingepisodeinShakespeare)sRichardII,whichis

theimmediatesequeltothedeposition(4l1l264-99)l

Richardsummonsallpresenttowitnesshispersonalactofabdication

(ll203),andtheninthewordsoflines204-14andtheaccompanyingges-

turesperformsaritualtoabjurehismonarchicalstatuslHedisownshiscrown,

putsawayhissceptre,withhistearswashesoftheholyoilwithwhichhewas

anointedathiscoronation,andrevokesallthefeudaloathsofloyaltymadeto

himlHehasgonethroughaceremonyofhisownmakingwhichhasallthefea-

turesofalegaltransaction,aformulalYetwhenaskedwhetherheis“contented

toresignthecrown”(abdicatingofhisownfreewill-ll200),andaskedtoread

thelistof“grievouscrimes”heisaccusedof-herefusestocomplyl

TeKing)sTwoBodies,ErnstKantorowicz)sseminalinterpretationofthe

play,describesthedualconceptofthepersonofthemonarchastheindividual

whoissimultaneouslyandindeliblythehumanreceptacleof“theking)sbody

politic,god-likeorangel-like”(Kantorowicz1957:27)lToindulgeinananach-

ronisticexplanation-whenforcedtoabdicateRichardplungesintoastateof

schizophrenia:itisthepublicRichardinhisbody,thecrownedandanointed

headofthestatethatrepudiateshisirrevocableomceasking,buttheprivate

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