Shakespearean CriticismJoseph C. Tardiff Gale Research International, Limited, 1992 - 464 Seiten Annotation Beginning with Volume 13 in the series, Shakespeare Criticism has been published as an annual selection of noteworthy contributions to Shakespearean scholarship published during the previous year. Seventeen of the essays in SC19 originally appeared as chapters in books. The 26 journal articles included are drawn from ten different periodicals. Together, these 43 essays provide current assessments of nearly three-quarters of the Shakespeare canon. Addressed to a wide audience, including advanced secondary school students, undergraduate and graduate students, and teachers. Annotation copyright by Book News, Inc., Portland, OR. |
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Seite 52
... Stage 1574-1642 , 2nd ed . ( Cambridge : Cambridge Univ . Press , 1980 ) , p . 142 . 25 See Greg , Henslowe's Diary ( cited in n . 14 , above ) , Vol . 2 , pp . 35-41 , 66-68 , for a discussion of these buildings . 26 Wickham , Vol . 2 ...
... Stage 1574-1642 , 2nd ed . ( Cambridge : Cambridge Univ . Press , 1980 ) , p . 142 . 25 See Greg , Henslowe's Diary ( cited in n . 14 , above ) , Vol . 2 , pp . 35-41 , 66-68 , for a discussion of these buildings . 26 Wickham , Vol . 2 ...
Seite 297
... stage images that produce a coher- ent whole . Albany's and Edgar's speeches are diegetic pro- nouncements , however imperfect , on the dramatic event . And that event - from Lear's anguished howls to his final " Look there , look there ...
... stage images that produce a coher- ent whole . Albany's and Edgar's speeches are diegetic pro- nouncements , however imperfect , on the dramatic event . And that event - from Lear's anguished howls to his final " Look there , look there ...
Seite 321
... stage . " The direction , " over the stage , " might of course in- dicate that the characters rose from the pit , crossed the platform , and descended again into the pit . * Such a move- ment would project the world of the audience onto ...
... stage . " The direction , " over the stage , " might of course in- dicate that the characters rose from the pit , crossed the platform , and descended again into the pit . * Such a move- ment would project the world of the audience onto ...
Inhalt
Taming the Womans | 3 |
Anamorphism | 33 |
Antipholus Katherine and Proteus | 41 |
Urheberrecht | |
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Antony Antony and Cleopatra Antony's argues audience Aufidius bear bearbaiting become Bolingbroke bridle Caesar Cambridge carnival characters Cleopatra Comedy of Errors comic Cordelia Coriolanus critics culture Cymbeline death Desdemona discourse drama dream Edgar Egeon's Elizabethan England English essay eyes Falstaff father female film gender hath heart Helena Henry Henry's human Iago Juliet Kate King John King Lear language Lear's Leontes lines London Love's Labor's Lost Macbeth madness male Malvolio marriage means ment metaphor nature noble Olivier Othello perception Pericles play play's playgoer plot political Posthumus Prince Prospero Queen reading Renaissance rhetorical Richard Richard II role Roman says scene script seems sense sexual Shake Shakespeare Shrew social speak speare speare's speech stage suggests Tamburlaine Tempest theater theatrical Theseus thou tion Titania tragedy trans Twelfth Night Univ University Press Winter's Tale witchcraft witches woman women words York