Some Necessary Questions of the Play: A Stage-centered Analysis of Shakespeare's HamletIn "For the Purposes of Defense," historian Gene A. Smith examines the politics and ideology of the fleet of small shallow-draft vessels commissioned by President Thomas Jefferson that dominated the United States Navy during the first two decades of the nineteenth century. Designed to maneuver and fight in coastal waters, the vessels had limited ability on the open seas. They were considered defensive rather than offensive craft and have become the focus of the white-water (coastal) - blue-water (seagoing) controversy as well as the navalist-antinavalist debate of the period. When examining the fleet, scholars have charged that Jefferson opposed the navy. He did not, although his most famous quote refers to "the ruinous folly of a navy." Instead, Jefferson was an economy-minded, astute politician who viewed the gunboats as part of a political-military policy rather than a naval program in itself. Gunboats were an economic and political alternative to the exorbitant costs of a blue-water navy. Their perceived initial costs would be small, and when not in use they could be hauled up and protected under cover, eliminating costly maintenance. Staffing them by a naval militia would further lessen their costs. Additionally, they were a defensive weapon that provided few opportunities for incidents at sea that might provoke war. They were also useful in revenue enforcement, suppressing piracy along the coastal frontier, checking the illegal slave trade and smuggling, as well as other nontraditional uses. Moreover, gunboat construction provided a unique political opportunity for the Jefferson administration. Gunboats could be built throughout the country, allowing the distribution of contracts beyond the regular centers of naval activity and to those areas supporting Republican politics. |
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Page 7
... Brains !: Hamlet's Soliloquies 69 91 Part III : Theatrical Expectations 5. Body , Actor , and Character in Hamlet 6. Issues of Culture and Genre 111 131 Notes Works Cited Index 151 163 169 Textual Note Except where noted , I have used The.
... Brains !: Hamlet's Soliloquies 69 91 Part III : Theatrical Expectations 5. Body , Actor , and Character in Hamlet 6. Issues of Culture and Genre 111 131 Notes Works Cited Index 151 163 169 Textual Note Except where noted , I have used The.
Page 13
... actors and audience ; the conventions and expectations that facilitate dramatic compression . The greatest contribution of stage- centered criticism may be common sense , conceived in an almost classical way as the synthesis of the ...
... actors and audience ; the conventions and expectations that facilitate dramatic compression . The greatest contribution of stage- centered criticism may be common sense , conceived in an almost classical way as the synthesis of the ...
Page 14
... actors , directors , designers , musi- cians , and technicians . The theater has survived , has continued to attract both audiences and creative talent , because we have come to appreciate its unique use of space , time , and presence ...
... actors , directors , designers , musi- cians , and technicians . The theater has survived , has continued to attract both audiences and creative talent , because we have come to appreciate its unique use of space , time , and presence ...
Page 15
... actor . " The play is both a classic and a stirring contemporary drama . It is variable and yet always identifiable . Its protagonist theorizes about self and about the theater . Yet in practice , the very process of exploring how ...
... actor . " The play is both a classic and a stirring contemporary drama . It is variable and yet always identifiable . Its protagonist theorizes about self and about the theater . Yet in practice , the very process of exploring how ...
Page 16
... actors and audience moves us to harmony . We have also invested the theater space with meaning as we attend to the dramatic narrative . Because the process of perception normally varies as a play proceeds , it is inherently subject to ...
... actors and audience moves us to harmony . We have also invested the theater space with meaning as we attend to the dramatic narrative . Because the process of perception normally varies as a play proceeds , it is inherently subject to ...
Contents
13 | |
Space and Time | 25 |
Space and Scrutiny in Hamlet | 27 |
Taking Up the Past Hamlet and Time | 47 |
Theatrical Text | 67 |
Put Your Discourse into Some Frame Hamlet and the Uses of Wit | 69 |
About My Brains Hamlets Soliloquies | 91 |
Theatrical Expectations | 109 |
Body Actor and Character in Hamlet | 111 |
Issues of Culture and Genre | 131 |
Notes | 151 |
163 | |
169 | |
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action actor Amleth antic disposition Atheist's Tragedy audience avenger awareness becomes behavior bodily body Bucknell University Calderwood character Claudius Claudius's closet scene comedy concern conscience consciousness contemplation context crime critical cultural death of Polonius defined Denmark dialogue discourse disruption distance dramatic text dreams Elam Elizabethan Elsinore emotional evoke examines expectations experience father feeling Fortinbras genre Geoffrey Hartman Gertrude Gertrude's gesture ghost graveyard Hamlet Hamlet's soliloquies Hamlet's wit Horatio human humor joke King King's Laertes language laughter madness means Merleau-Ponty Metadrama metaphor metatheatrical mimesis mother Mousetrap play murder myth mythic narrative norms observation Ophelia past perceived performance Phenomenology of Perception philosophical play's players plot Polonius presence Princeton protagonist psychological relationship Renaissance representation response revenge tragedy rhetorical role Rosencrantz and Guildenstern Ruth Thompson seems Semiotics sense sexual Shakespeare significant soliloquy speech stage space suggests textual theater theatrical theory tion University Press verbal words