Shakespearean CriticismMichelle Lee Cengage Gale, 1999 - 420 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 155
... genre is un- dermined by decorous separation from its opposite . When Antony attempts to make Egypt into a realm which contains only pleasure , Egypt instead becomes the reverse of pleasurable : " The present pleasure , / By revolution ...
... genre is un- dermined by decorous separation from its opposite . When Antony attempts to make Egypt into a realm which contains only pleasure , Egypt instead becomes the reverse of pleasurable : " The present pleasure , / By revolution ...
Seite 165
... genre of tragicomedy in that rather than seeking a middle ground between the genres , it mingles extremes without modi- fying them . It proceeds straight into a full - blown trag- edy , and its final comic elements arise out of the de ...
... genre of tragicomedy in that rather than seeking a middle ground between the genres , it mingles extremes without modi- fying them . It proceeds straight into a full - blown trag- edy , and its final comic elements arise out of the de ...
Seite 298
... genre instead appears as an outward manifestation of an utterance's unveiling into act . It becomes significant in terms of the alteration within . the genre that when compared to their tragic predeces- sors , Shakespeare's tragedies ...
... genre instead appears as an outward manifestation of an utterance's unveiling into act . It becomes significant in terms of the alteration within . the genre that when compared to their tragic predeces- sors , Shakespeare's tragedies ...
Inhalt
Deception in Shakespeares Plays | 1 |
Antony and Cleopatra | 70 |
Cymbeline | 205 |
Urheberrecht | |
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action actor Antony and Cleopatra Antony's appears audience becomes Caesar Caius character Cleo Cloten comedy comic critics Cymbeline Cymbeline's death desire disguise dramatic dream Egypt Elizabethan Enobarbus Falstaff father female fiction final Ford Ford's Garter genre Guiderius Hal's Hamlet hath Henry Henry IV Herne the Hunter hero heroine honor husband Iachimo identity imagination Imogen Jack-a-Lent King King Lear knight Lear London lovers Macbeth male marriage Merry Wives Mistress moral nature noble Nosworthy Octavius Othello patra Pisanio play's plot political Pompey Posthumus Posthumus's Prince protagonists queen Renaissance rhetorical Richard Richard III role Roman Rome Romeo and Juliet says scene seems sense sexual Shake Shakespeare speaks speare speare's speech stage suggests theatrical thee theme thou tion tragedy tragic truth Univ University Press vision wager wife Windsor Winter's Tale witch Wives of Windsor woman women words York