The Mirror-technique in Senecan and Pre-Shakespearean TragedyFrancke, 1975 - 162 Seiten |
Im Buch
Ergebnisse 1-3 von 19
Seite 13
... direct address to objective description is abrupt . She suddenly loses her identity as a character in the play and becomes a mouthpiece of Seneca's . Thereby the dramatic illusion is broken ; at this particular moment she should appear ...
... direct address to objective description is abrupt . She suddenly loses her identity as a character in the play and becomes a mouthpiece of Seneca's . Thereby the dramatic illusion is broken ; at this particular moment she should appear ...
Seite 48
... direct mirror - passages . In its indirect passages ( emotion , fantasy ) it follows the Senecan example . By rejecting Seneca's direct mirror - technique Hughes displays the same selec- tive sense as the authors of Gismond . He has a ...
... direct mirror - passages . In its indirect passages ( emotion , fantasy ) it follows the Senecan example . By rejecting Seneca's direct mirror - technique Hughes displays the same selec- tive sense as the authors of Gismond . He has a ...
Seite 52
... direct mirror- passages are concerned . Expressionism , however , serves its purpose in Wilmot's imaginary mirror ... direct passages , some of which are clearly stimulated by the Roman playwright . Wilmot is careful to adapt the Senecan ...
... direct mirror- passages are concerned . Expressionism , however , serves its purpose in Wilmot's imaginary mirror ... direct passages , some of which are clearly stimulated by the Roman playwright . Wilmot is careful to adapt the Senecan ...
Inhalt
Introduction | 7 |
B The MirrorPassages within the Scene | 14 |
The WordScenery | 33 |
Urheberrecht | |
5 weitere Abschnitte werden nicht angezeigt.
Andere Ausgaben - Alle anzeigen
Häufige Begriffe und Wortgruppen
Abigail action appears arms Barabas beginning behaviour blood body character comes condition contains crown death described direct dramatic Edward effect elements Elizabethan emotion Enter entrances event exits expression eyes face fall fantasy father Faustus fear feeling figure Gaveston gestic gesture gives grief hand head heaven hell Hercules Hieronimo Hippolytus Horatio imaginary imagination important impulse inner introduced Isabella kind king later looks lord manner Marlowe Mathias means mentioned Mephistopheles MICHIGAN mirror-passages mirror-technique mirrored mood Mortimer murder night objective occurs passage passion performance person physical play present references reflexive revenge says scene Senecan shows sight situation soul speak speech stage stage-direction stands subjective suggest symbolic Tamburlaine tears technique tell thee thou traditional tragedy transitive turn UNIVERSITY utters vision visual word-scenery