Titlebook: Revisiting The Tempest; The Capacity to Sign Silvia Bigliazzi (Professor of English Literature) Book 2014 Palgrave Macmillan, a division of

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“Dost thou hear?” On the Rhetoric of Narrative in is narrative pieces as exceedingly pompous and artificial. In his view all narration in dramatic poetry is dull by definition, “as it is unanimated and inactive, and obstructs the progress of the action” (Johnson 331). Shakespeare’s, however, was especially burdensome and aesthetically unpalatable i

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A Tempestuous Noise: on the Acoustics and Vocalics of Stormsthe Virginia Company, the enterprise chartered three years earlier by St James’s namesake King James I. The 24 July maritime disaster — by general consensus the historical inspiration for Shakespeare’s . — was perceived by one of its survivors, William Strachey, not only as an awesome spectacle but

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“Suppos’d to be rais’d by Magick”, or , ‘made fit’Springs up and buds a new reviving Play” (., Prologue 6).. Spoken at Lincoln’s Inn Fields theatre on 7 November 1667, these lines ushered in the production of .,. jointly written by poet laureate William Davenant and John Dryden, who was to wear the laurel wreath himself after Sir William’s death th

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Shakespeare’s Hypertextual Performances: Remediating , in d at length by recent scholarship. The innumerable versions and adaptations of Shakespeare’s last play, one of the central “interpellative ‘dream-texts’ of Western Literature” (Zabus 1), largely epitomise “the intricate instabilities and contingencies that emerge in conversations ‘about’ and ‘betwee

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“This is a most majestic vision”: Performing Prospero’s Masque on Screen produced at the time. Through the dramatisation of different forms of pageantry and its impressive visual and acoustic display, . discloses its theatrical potential and sets off magic urging the spectator, both on stage and off, to constantly make assumptions.

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A Tempestuous Noise: on the Acoustics and Vocalics of Stormssensus the historical inspiration for Shakespeare’s . — was perceived by one of its survivors, William Strachey, not only as an awesome spectacle but also, precisely, as a big noise, a dreadful assault on his addled sense of hearing: