Shakespearean CriticismRalph Berry, Graham Bradshaw, William C. Carroll Cengage Gale, 1999 - 420 страница Presents literary criticism on the plays and poetry of Shakespeare. Critical essays are selected from leading sources, including journals, magazines, books, reviews, diaries, newspapers, pamphlets, and scholarly papers. Includes commentary by Shakespeare's contemporaries as well as a full range of views from later centuries, with an emphasis on contemporary analysis. Includes aesthetic criticism, textual criticism, and criticism of Shakespeare in performance. |
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Страница 141
... course , splits in the course of the play because the Bastard of the early part of the action metamorphoses into a dra- matically different one by the end , but this schema . serves well enough at this point . 29 He engages in the same ...
... course , splits in the course of the play because the Bastard of the early part of the action metamorphoses into a dra- matically different one by the end , but this schema . serves well enough at this point . 29 He engages in the same ...
Страница 146
... course many different performance arcs that can be cut through this scene , but even if the actor plays some- thing like anger in the opening lines , the anger shown at the end must be different both in tone and attribu- tion than at ...
... course many different performance arcs that can be cut through this scene , but even if the actor plays some- thing like anger in the opening lines , the anger shown at the end must be different both in tone and attribu- tion than at ...
Страница 285
... course that Lucrece kills herself and Clarissa explicitly rejects this course of action . Lovelace makes the contrast with Lucrece himself in III.220 ( ' no Lucretia - like vengeance upon herself in her thought ' ) ; and Clarissa ...
... course that Lucrece kills herself and Clarissa explicitly rejects this course of action . Lovelace makes the contrast with Lucrece himself in III.220 ( ' no Lucretia - like vengeance upon herself in her thought ' ) ; and Clarissa ...
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Representation and Reformation in Measure for Measure | 14 |
Sidney Homann What Do I Do Now? Directing A Midsummer Nights Dream | 23 |
Lisa Hopkins Marriage as Comic Closure | 32 |
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actor Antony argues audience authority Bastard becomes Benedick body Caesar Chalmers character Christian claims Clarissa Cleopatra comedy comic complaint conventional Cordelia Coriolanus critics cultural death desire drama early modern edition Elizabeth Elizabethan England English erotic essay fact Falstaff father female figure Ganymede gender Hamlet Henry Henry VI Hippolyta homosexual identity Irving's Jessica Jewish Jews Joan John King King Lear language Lear Leontes lines London Lord lover Lover's Complaint Lucrece Macbeth magic male Margaret Marranos marriage Measure for Measure ment Merchant of Venice moral Oldcastle Ophelia performance Pericles Petrarchan play's poems poet political Polixenes Prince Protestant Queen reading reference reformation relationship Renaissance representation role scene seems sense sexual Shake Shakespeare Shylock social sodomy sonnet 20 sonnets speare's speech stage suggests theater theatrical thee Theseus thou tion Titus Andronicus tragedy University Press Winter's Tale woman women words York