TERMS 3

Question 1

King’s Men

Answer 1

A company of actors known as Chamberlain’s Men but received new name upon ascension of James I. They performed Shkp’s plays at the Globe.

Question 2

King’s Two Bodies

Answer 2

body natural: physical body of the monarch; the fallible body subjects to time.
body politic: the spiritual body of the monarch; eternal; transcends 超越body natural.
(KL, AC)

Question 3

leaky body

Answer 3

Rhetoric花言巧语的 surrounding the female body. Women’s body as “leaky”有漏洞的 because of menstruation月经 and their tears (women as vulnerable and emotional).
The Tempest: Miranda
Antony and Cleopatra: Antony-“sir, sir, thou art so leaky.” (Antony’s masculinity is problematic.)

Question 4

locus

Answer 4

Characters that are in the central, dramatic actions (the nobility, etc.).
The center of dramatic actions.
Locus is where actors are fully involved in the development of the drama, whereas platea is where they interact with the audience

Question 5

leaky female tongue

Answer 5

women’s unbridled不受约束的 (not controlled/ restrained) speech as a result of being unfaithful to the bond of marriage.
Miranda
Lady Macbeth: she reads her husband’s letter out loud. And she tries to “pour” her “tongue” into M’s ear, which means she tries to manipulate him with her words.

Question 6

masque

Answer 6

an allegorical and symbolic courtly entertainment:

• royal members participate
• celebrate special occasions
• women participated but didn’t have lines
• expensive, elaborate, indoors
• dance, costumes, poetry, songs
• audience aligned with platea (audience aligned w/ locus for public theater).

The tempest?

Question 7

Master of the Revels

Answer 7

Officers who are in charge of choosing the plays and other entertainment at court. There are 3 masters of revel in Jacobean Era.

Question 8

meta-drama/ meta-dramatic

Answer 8

dramas that break the ‘fourth wall’; characters who look and speak directly at the audience. Anything in a play that remind the audience that they are in a play (Macbeth, The Tempest). any supernatural elements

Question 9

metaphor

Answer 9

A figure of speech in which a name or descriptive word or phrase is transferred to an object or action different from, but analogous to, that to which it is literally applicable
The tempest in T and KL; book in T

Question 10

meter 2

Answer 10

the basic rhythmic structure of a verse.
Many traditional verse forms prescribe a specific verse metre, or a certain set of metres alternating in a particular order.

Question 11

metonymy

Answer 11

metonymy转喻: a literary device where a word or a phrase is used in place of/ represents a similar idea:
i.e. The pen is mightier than the sword
(pen= writing, sword= fighting).

Question 12

monstrous birth pamphlet

Answer 12

Published to warn women that female sins can show up in their children; deformed children bear sins of unfaithful mothers.

• reflects anxiety surrounding female sexuality and power (Queen Elizabeth)
• an abject that society tries to contain through wedlock and childbirth
• King Lear who gains power by insulting his daughters and puts off responsibility when he accuse wife of being unfaithful
• King Lear’s anxiety of losing power to daughters
• blurring the lines between women and animals

Question 13

Other

Answer 13

In phenomenology现象学, the terms the Other and the Constitutive基本的；本质的 Other each identify a cumulative累积的, constituting factor in the self-image of a person - the acknowledgement of being real. As such, the Other is dissimilar to and the opposite of the Self, of Us, and of the Same.
Otherness, the characteristics of the Other, is the state of being different from and alien to the social identity of a person and to the identity of the Self.
Antony and Cleopatra: Rome vs Egypt; T: civilization vs savage.

Question 14

passive voice

Answer 14

A verb is in the passive voice when the subject of the sentence is acted on by the verb.

Question 15

patriarchy

Answer 15

Literally, a community of related families under the authority of a male head called a patriarch家长; applied more generally to any form of social organization in which men have predominant power.
all; esp the tempest

Question 16

platea

Answer 16

Robert Weimann and Character Position:
Characters that are closer physically and more relatable to the audience at the pit (attendants, etc.), and lowly, comedic characters (clowns, porter in Macbeth).
Periphery外围，边缘 of dramatic actions.

Question 17

Plutarch

Answer 17

Author of “Life of Antony”, a primary source that Shkp consulted to write Antony and Cleopatra.

Question 18

proto-feminist

Answer 18

The term protofeminist is sometimes applied to a woman in a philosophical tradition anticipating modern feminist concepts, who lived in an era when the term “feminist” was unknown, that is, prior to the 20th century.
Cleopatra

Question 19

pyrrhic

Answer 19

pyrrhic 抑抑格的；出征舞的；付出极大代价而获得的
A hypothetical metrical unit sometimes invoked in traditional scansion: it consists of two unstressed syllables (or, in quantitative verse, two short syllables), and is rather questionably referred to as a foot. It has been called upon in many attempts to clear up problems of traditional scansion by feet, as a device of substitution.

Question 20

quarto

Answer 20

quarto四开本: A size of book page resulting from folding each printed sheet into four leaves (eight pages). Quarto-sizes range from 15 × 11 inches (imperial quarto) to 76/8 × 63/8 (pot quarto)

Question 21

regicide

Answer 21

the deliberate故意的；深思熟虑的；从容的 killing of a monarch, or the person responsible for the killing of a person of royalty.
M; T
Regicide is bad because the divine right of the kings
James I later introduce Anti-Regicide Discourse: if a king is a good King, great; if bad, tolerate it because God is testing you. So anything against King is illegal.
Apply to M: Duncan’s soul haunted Macbeth; lady M gets crazy and her bloody hands; M’s tragic end.

Question 22

scansion

Answer 22

scansion韵律节奏的分析；按韵律诵读；细查:
The analysis of poetic metre in verse lines, by displaying stresses, pauses, and rhyme patterns with conventional visual symbols.
the act of determining and (usually) graphically representing the metrical character of a line of verse.

Question 23

Shakespearean genre

Answer 23

the plays are divided into the genres of tragedy, history, and comedy

Question 24

simile

Answer 24

A figure of speech (specifically a trope) in which one thing is explicitly compared with something else of a different kind using the words ‘as’ or ‘like’,

Question 25

soliloquy

Answer 25

when a character speaks to himself or herself, relating thoughts and feelings, thereby also sharing them with the audience

Question 26

spectacle

Answer 26

spectacle景象；场面:

A public performance, media event, or epic film produced on a grand scale and with impressive visual effects.

Question 27

spondee

Answer 27

A poetic foot of two strong syllables

Question 28

stationer

Answer 28

originally denoted a type of tradesman who acted as middleman between universities and the producers of books. They organized or facilitated the commissioning of approved books.
By the mid-seventeenth century, and especially since the eighteenth century, stationers became largely distinct from booksellers, even though still selling some books, by concentrating more on the purveying供应；供给 of miscellaneous 混杂的 writing materials and ‘stationery’.

Question 29

Stationers’s Register

Answer 29

A record book maintained by The Stationers’ Company of London. Playing companies/ authors register the titles of texts to be published. The company regulated professions associated with the print industry.
Function as censorship before publish.
Publish the first Folio in 1623

Question 30

synecdoche

Answer 30

synecdoche提喻法
A figure of speech in which a part stands in for a whole.
Thunder in The Tempest is a synecdoche for the storm.

a figure of speech by which a more comprehensive term is used for a less comprehensive or vice versa, as whole for part or part for whole, e.g. ‘There were six guns out on the moor’ where ‘guns’ stands for shooters; and ‘Oxford won the match’, where ‘Oxford’ stands for ‘the Oxford eleven’.