Making sense of Shakespeare (Book, 1999) [WorldCat.org]
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Making sense of Shakespeare

Author: Charles H Frey
Publisher: Madison, N.J. : Fairleigh Dickinson University Press, ©1999.
Edition/Format:   Print book : EnglishView all editions and formats
Summary:
"This book argues for the existence and deployment of non-visual imagination in the reading and viewing of Shakespeare. It seeks to save the imagination of Shakespeare from abstractness and restore such imagination to a literal concreteness of somatic sensory experience. Instead of considering "the body" from the outside in the manner of cultural critics, Frey considers the reader and viewer's body from the inside  Read more...
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Genre/Form: Criticism, interpretation, etc
Additional Physical Format: Online version:
Frey, Charles H.
Making sense of Shakespeare.
Madison, N.J. : Fairleigh Dickinson University Press, ©1999
(OCoLC)607369290
Online version:
Frey, Charles H.
Making sense of Shakespeare.
Madison, N.J. : Fairleigh Dickinson University Press, ©1999
(OCoLC)609292441
Named Person: William Shakespeare; William Shakespeare; William Shakespeare; William Shakespeare; William Shakespeare; William Shakespeare
Document Type: Book
All Authors / Contributors: Charles H Frey
ISBN: 0838638317 9780838638316
OCLC Number: 41320136
Description: 210 pages ; 25 cm
Contents: Preface --
Note on Shakespeare's Text --
Introduction: Abstract and Concrete Senses in Shakespere --
Part I: Sense-Reading and Resistance --
Sense-Reading Shakespeare's Sounds --
Sense-Reading Shakespeare's Nonvisual Images --
Resistance to Shakespeare's Sense-Reading --
Further Contexts of Resistance to Shakespearean Sense-Reading --
Part II: Beyond Resistance to Sense-Reading --
Working Beyond Resistance --
Undermind Shakespeare: Sense-Reading as Self-Shaping and Play-Shaping --
Practice --
Sense-Reading in the Classroom --
Concluclusion: Walking Westward --
Notes --
Works Cited --
Index.
Responsibility: Charles H. Frey.

Abstract:

"This book argues for the existence and deployment of non-visual imagination in the reading and viewing of Shakespeare. It seeks to save the imagination of Shakespeare from abstractness and restore such imagination to a literal concreteness of somatic sensory experience. Instead of considering "the body" from the outside in the manner of cultural critics, Frey considers the reader and viewer's body from the inside in the manner of subjective responders or some affective critics. He argues that Lear's "howl," for example, targets and rewards physical hearing, physical speaking, and their accompanying emotions as somatically connected to current or remembered sensations in mouth, throat, and lungs."--Jacket.

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