Shakespearean CriticismCengage Gale, 2001 - 448 Seiten 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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Seite 148
... imagination provides a first move in dismantling the play's gender hierarchy , though she does not present it as such . " Hip- polyta's words remind us that the tensions , the chill , of the opening scene have not disappeared entirely ...
... imagination provides a first move in dismantling the play's gender hierarchy , though she does not present it as such . " Hip- polyta's words remind us that the tensions , the chill , of the opening scene have not disappeared entirely ...
Seite 177
... imagination . The lunatic , the lover and the poet Are of imagination all compact . [ V , i , 6-7 ] Such a reading is rejected , however , by Hippolita who says that there is more to Midsummer Night than gratuitous imagination and who ...
... imagination . The lunatic , the lover and the poet Are of imagination all compact . [ V , i , 6-7 ] Such a reading is rejected , however , by Hippolita who says that there is more to Midsummer Night than gratuitous imagination and who ...
Seite 253
... imagination . He seems to believe that the real question is whether or not to believe in the fairies . Hippolyta's later words will reveal that her concern is of an entirely differ- ent sort ; but , like all rationalists of a certain ...
... imagination . He seems to believe that the real question is whether or not to believe in the fairies . Hippolyta's later words will reveal that her concern is of an entirely differ- ent sort ; but , like all rationalists of a certain ...
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allusions Antony and Cleopatra Arthur audience Bastard becomes body characters Christian claim Claudius comedy Cordelia Coriolanus critics cultural dead death desire dramatic dying Elizabethan England English erotic essay Falstaff father final scene gender goddess Hamlet hath Henry Henry VI Hercules hero heterosexual homoerotic homoeroticism homosexual Hotspur human imagination Ixion James Juliet Juno King John King Lear Lear's London lovers Macbeth male marriage Mars medieval Midsummer Night's Dream mimetic moral murder myth mythical mythology nature Olivia Orsino Othello Ovid Ovid's play's plot political Pygmalion Queen Renaissance Richard Richard III ritual role Roman Romeo says seems sense sexual Shake Shakespeare Shakespeare's play sion sleep social sodomy Sonnet 20 sonnets soul speare's speech stage story succession suggests symbolic Talbot theatrical thee Theseus thou throne Timon tion tragedy tragic Twelfth Night University Press Viola Winter's Tale women words York