Jonas A Barish
Biographic Data
| ID | 1080709 |
|---|---|
| NAME | Jonas A Barish |
| GIVEN NAMES | Jonas A |
| FAMILY NAME | Barish |
| SIGNATURE | BARISH J A |
| AFFILIATIONS | University of California, Berkeley |
| VERIFIED | No |
| TOTAL WORKS | 10 |
| TOTAL CITATIONS | 11 |
| WORKS AS AUTHOR | 10 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1956 |
| LATEST PUBLICATION YEAR | 1994 |
| H-INDEX | 1 |
The Problem of Closet Drama in the Italian Renaissance
Shakespeare in the Study; Shakespeare on the Stage
I want to start with a glance at Coleridge on Shakespeare. Coleridge, in 1811, speaking of Richard II, a play not often acted in his day, did not, according to the account of his lectures, regret its infrequency on the stage, for, says the reporter, he never saw any of Shakespeare's plays performed, but with a degree of pain, disgust, and indignation. He had seen Mrs. Siddons as Lady, and Kemble as Macbeth-these might be the Macbeths of the Kembl…
The Antitheatrical Prejudice
Shakespeare, Jonson, Molière
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
The Antitheatrical Prejudice
Ben Jonson
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Yvor Winters and the Antimimetic Prejudice
Winters, characteristically, was not content to leave it a simple matter of taste or a personal idiosyncrasy, but elaborated it strenuously into an article of dogma, and made it an integral part of his critical system. As with his other heterodox theses, he did not hesitate to push this one to its most bizarre extremes, so that what starts as a temperamental distaste for a certain strain in literature grows into the most sweeping attack on the mi…
Exhibitionism and the Antitheatrical Prejudice
PERSON, says Hobbes, i s he, whose words or actions are considered, either as his own, or as representing the words or actions of another man . . . whether truly or by fiction. When they are considered as his own, then is he called a natural person: and when they are considered as representing the words and actions of another, then is he a feigned or artificial person. 1 Hobbes' distinction between the two forms of personation may serve set forth…
The Antitheatrical Prejudice
The Prose Style of John Lyly
Lyly's prose style, especially that of Euphues', has been studied so often and so exhaustively in the past that further observations on it are likely to appear impertinent, especially if they attempt no radical reformulation. However, the major work of description has been complete for some decades now, and little has been added except for occasional further explorations into the literary origins of Euphuism. It may, therefore, be useful to glanc…
The Antitheatrical Prejudice
Shakespeare in the Study; Shakespeare on the Stage
I want to start with a glance at Coleridge on Shakespeare. Coleridge, in 1811, speaking of Richard II, a play not often acted in his day, did not, according to the account of his lectures, regret its infrequency on the stage, for, says the reporter, he never saw any of Shakespeare's plays performed, but with a degree of pain, disgust, and indignation. He had seen Mrs. Siddons as Lady, and Kemble as Macbeth-these might be the Macbeths of the Kembl…
The Prose Style of John Lyly
Lyly's prose style, especially that of Euphues', has been studied so often and so exhaustively in the past that further observations on it are likely to appear impertinent, especially if they attempt no radical reformulation. However, the major work of description has been complete for some decades now, and little has been added except for occasional further explorations into the literary origins of Euphuism. It may, therefore, be useful to glanc…
The Antitheatrical Prejudice
Exhibitionism and the Antitheatrical Prejudice
PERSON, says Hobbes, i s he, whose words or actions are considered, either as his own, or as representing the words or actions of another man . . . whether truly or by fiction. When they are considered as his own, then is he called a natural person: and when they are considered as representing the words and actions of another, then is he a feigned or artificial person. 1 Hobbes' distinction between the two forms of personation may serve set forth…
Yvor Winters and the Antimimetic Prejudice
Winters, characteristically, was not content to leave it a simple matter of taste or a personal idiosyncrasy, but elaborated it strenuously into an article of dogma, and made it an integral part of his critical system. As with his other heterodox theses, he did not hesitate to push this one to its most bizarre extremes, so that what starts as a temperamental distaste for a certain strain in literature grows into the most sweeping attack on the mi…
Ben Jonson
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
The Antitheatrical Prejudice
Shakespeare, Jonson, Molière
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
The Antitheatrical Prejudice
Shakespeare in the Study; Shakespeare on the Stage
I want to start with a glance at Coleridge on Shakespeare. Coleridge, in 1811, speaking of Richard II, a play not often acted in his day, did not, according to the account of his lectures, regret its infrequency on the stage, for, says the reporter, he never saw any of Shakespeare's plays performed, but with a degree of pain, disgust, and indignation. He had seen Mrs. Siddons as Lady, and Kemble as Macbeth-these might be the Macbeths of the Kembl…
The Problem of Closet Drama in the Italian Renaissance
Art (6 works) · Psychology (5 works) · Social Psychology (5 works) · History (4 works) · Literature (4 works) · Art history (3 works) · History (3 works) · Shakespeare, Adaptation, and Literary Criticism (3 works) · American Constitutional Law and Politics (2 works) · Archaeology (2 works)