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Issues of Death: Mortality and Identity in English Renaissance Drama. Edited by Daniel Jernigan, Walter Wadiak, and W. “From Nothing to Never: Death and King Lear.” In Narrating Death: The Limit of Literature. “The Figure of Silence in The Spanish Tragedy.” ELH 39 (1972): 27–48. The Sense of an Ending: Studies in the Theory of Fiction. “ King Lear and the Rhetoric of Amnesia.” South Atlantic Review 83.4 (2018): 103–19. Detroit: Wayne State University Press, 1962. Princeton, NJ: Princeton University Press, 2001. “Madness and Meaning.” Journal of Dramatic Theory and Criticism 2.1 (1987): 53–67. “Ghosts, Kin, and Progeny: Some features of Family Life in Early Modern France.” Daedalus 106.2 (1977): 87–114.ĭawson, Anthony B. London: Penguin Books, 1970.ĭavis, Natalie Zemon. “In Defiance of Death: Shakespeare and Tomb Sculpture.” Memoria di Shakespeare 6 (2019): 1–20.īorges, Jorge Luis. But, as Frank Kermode observes of the Horatian ideal of epic storytelling, in medias res bears an uncomfortably suggestive relation to lived experience, since human beings themselves “rush ‘into the middest,’ in medias res, when they are born they also die in mediis rebus.” This chapter addresses Hamlet’s desire for a good death in conformity with the consolatory death arts of Catholicism, but the play denies him this closure as he is schooled in the Protestantism of Wittenberg. This chapter scrutinises our fondness for biographical narrative: we like to imagine our lives as coherent stories that move in a prescribed fashion from birth though life towards a proper conclusion. 79) and also because its ending might offer only annihilation. But death is also to be feared, both because of the “dread of something after death” (l. Death, because it offers the prospect of completion, can seem “a consummation / Devoutly to be wished”-desired because it promises an “end” to “the heartache and the thousand natural shocks / That flesh is heir to” (3.1.61 –5). Have your questions answered on the show.Hamlet is a play noticeably possessed by narrative yearnings, but ones that are repeatedly undone by its conflicted attitudes towards ending. To make sure that you don’t miss an episode, make sure to subscribe to the podcast on iTunes or on Android.
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He was then tapped by the legendary Prince as mixer and engineer for his latest Gold-selling, chart-topping “Lotusflower/MPLSound” album. Moved to Los Angeles and he worked with all-time giants of the music industry such as Jimmy Jam and Terry Lewis. Starting out in New York, he was part of some of the seminal albums of the 2000’s such as Outkast’s “Speakerboxxx/The Love Below” and Usher’s “Confessions” and critical darlings such as Fountains Of Wayne’s “Stacy’s Mom”. Richard Furch is a Los Angeles-based mix engineer with credits on 6 Grammy winning albums out of 23 nominated albums.