Shakespearean Criticism: Excerpts from the Criticism of William Shakespeare's Plays and Poetry, from the First Published Appraisals to Current Evaluations, Band 34Gale Research Company, 1984 |
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Seite 138
... language : the creating artist began to look at language from the outside , with another's eyes , from the point of view of a potentially different lan- guage and style . . . The creating consciousness stands , as it were , on the ...
... language : the creating artist began to look at language from the outside , with another's eyes , from the point of view of a potentially different lan- guage and style . . . The creating consciousness stands , as it were , on the ...
Seite 294
... language , is a self - generating subjec- tivity detached from physical reality and therefore il- lusory ; like the illusions of Oberon and Richard II it dominates reality , shaping it to its own form and grant- ing it validity only ...
... language , is a self - generating subjec- tivity detached from physical reality and therefore il- lusory ; like the illusions of Oberon and Richard II it dominates reality , shaping it to its own form and grant- ing it validity only ...
Seite 295
... language and yet is falsified by language ; without language there can be no reason yet with language there can be none ei- ther to speak or keep silent is equally illusory . The Clown is aware that language and experience are so ...
... language and yet is falsified by language ; without language there can be no reason yet with language there can be none ei- ther to speak or keep silent is equally illusory . The Clown is aware that language and experience are so ...
Inhalt
Appearance vs Reality | 1 |
As You Like | 71 |
The Comedy of Errors | 190 |
Urheberrecht | |
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Häufige Begriffe und Wortgruppen
actor Adonis Adriana ambiguity androgynous Angelo audience Audrey becomes Bellario brother Celia characters Clown Comedy of Errors comic conventional Coppélia Corin court courtly critical desire dialogue discourse double meaning dramatic Dromio Duke Frederick Duke Senior Duke's Egeon Elizabethan Ephesus ethos father feigning female Feste figure final folly fool Forest of Arden Ganymede gender genre hath Helena husband identity Isabella Jaques language literary lovers Luciana male Malvolio marriage Measure for Measure metonymic Midsummer Night's Dream moral nature ocular proof Oliver Olivia Orlando Orsino paradox passion pastoral Phebe Philaster play's plot poetry political reality relationship Renaissance reveals rhetoric role romantic Rosalind says scene seems sense sexual disguise Shakespeare Shakespearean comedy shepherd Silvius social speak speech stage structure suggests theme thou tion Touchstone Touchstone's tradition truth Twelfth Night Univ University Press Venus Venus and Adonis Viola wife woman women words