scholarly journals Stability of BIS with Schnider or modified Marsh effect-site targeted infusions : as you like it, or much ado about nothing?

2021 ◽  
Vol 27 (2) ◽  
pp. 64-68
Author(s):  
E. Coetzee ◽  
A.R. Absalom
Keyword(s):  
Much Ado About Nothing ◽  
Effect Site ◽  
As You Like It

Shakespeare: 'Much Ado about Nothing' and 'As You like It': A Casebook

1982 ◽  
Vol 12 ◽  
pp. 258
Author(s):  
Kenneth Muir ◽  
John Russell Brown
Keyword(s):  
Much Ado About Nothing ◽  
As You Like It

As You Like It or Much Ado about Nothing?

2016 ◽  
pp. 237-264
Author(s):  
Koenraad De Ceuninck ◽  
Kristof Steyvers ◽  
Tony Valcke
Keyword(s):  
Structural Change ◽  
Local Government ◽  
21St Century ◽  
Structural Reform ◽  
Ongoing Debate ◽  
Reform Agenda ◽  
Much Ado About Nothing ◽  
As You Like It

This chapter scrutinizes the ongoing debate on structural reform in local government in the Flemish Region of Belgium at the turn and the first decades of the 21st century. As in many European polities, discussions on the territorial and functional arrangements of the level deemed closest to the citizen have occupied a protracted place on the reform agenda. Likewise, given their often controversial and conflictual nature all but a part of these reformist ambitions have eventually been adopted and implemented. Actual structural change often only crystalizes as the residue of a heated reform base once the damp of the discussion evaporates.

“The Wisdom of Your Feet”

2019 ◽  
pp. 216-236
Author(s):  
Florence Hazrat
Keyword(s):  
Early Modern ◽  
Cognitive Science ◽  
Embodied Cognition ◽  
Cognitive Dissonance ◽  
Cultural Background ◽  
Romeo And Juliet ◽  
Much Ado About Nothing ◽  
As You Like It

This chapter examines the coincidence of moments of dance with particularly rhetorical language in Shakespeare’s plays, including Much Ado about Nothing, As You Like It, and Romeo and Juliet. It offers a brief cultural background on the conflicting attitudes toward dance and rhetoric located in, among others, their power to persuade through patterned movement and language, a power amplified through an experience of embodied cognition on the multimedia stage. Alternatives for a lack of bibliographical evidence for dance are discussed and illustrated. The endings of Much Ado about Nothing and As You Like It are scrutinized in terms of their use of rhetoric and dance in persuading characters and spectators to agree to the pairing off of lovers, the promised end of a comedy, which jars with the complex final situations of these plays. Romeo and Juliet is discussed in terms of its engagement via dance with lyrical forms like the sonnet, converging language and movement in the cultural moment of the sonnet fashion. Throughout this chapter, discoveries of cognitive science on cognitive dissonance and empathy creation offer new ways of approach to the persuasive maneuvers of both rhetoric and dance, suggesting more inclusive ways of imagining bodies and words at work on the early modern stage.

scholarly journals Um Veríssimo shakespeariano numa Noite de Reis

Letras ◽  
2021 ◽  
pp. 39-54
Author(s):  
Elizabeth Ramos
Keyword(s):  
William Shakespeare ◽  
Twelfth Night ◽  
Much Ado About Nothing ◽  
As You Like It

Em fins do século XVI, William Shakespeare escreveu, além de outros textosdramáticos, três comédias que giram em torno da inebriante e complicada experiênciade se estar apaixonado – Much ado about nothing (1598), As you like it (1599-1600) e Twelfth Night (1601). Nas três, personagens femininas ocupam papel de destaque e se tornam a força motriz da trama, superando desafios. Em 2006, a Editora Objetiva publicou o romance A décima segunda noite, do escritor, cronista, cartunista, tradutor, roteirista e dramaturgo Luís Fernando Verissimo (1936-), uma releitura bem humorada da comédia shakespeariana, Twelfth Night or What you Will. O novo texto confirma a relevância das  personagens femininas da comédia inglesa e possibilita que o leitor se divirta com as identidades trocadas por meio dos disfarces de gênero. Este quinto romance do escritor gaúcho é o segundo da coleção ‘Devorando Shakespeare’, que pretendia publicar recriações do dramaturgo inglês. Aqui, num movimento de convergência de duas de suas paixões – a capital francesa e a produção do dramaturgo inglês – o escritor gaúcho desloca o lócus dramático da Ilíria balcânica, para a Paris dos anos 70, lócus onde se constrói o híbrido, onde se cruzam os lugares realmente vividos por diferentes sujeitos oriundos dediversos estratos sociais que se unem através do sentimento de solidariedade de grupo, próprio da condição do exílio. De maneira sensível e inteligente, o romancista insere em seu texto um narrador particular: o papagaio Henri, que constrói sua narrativa a partir do poleiro onde o colocam, no salão de cabelereiros Ilíria, de propriedade de Orsino.

Sign in / Sign up

Export Citation Format

Share Document