Shakespearean Criticism: Excerpts from the Criticism of William Shakespeare's Plays and Poetry, from the First Published Appraisals to Current Evaluations, Bände 1-25;Band 154Laurie Lanzen Harris, Mark Scott Gale Research Company, 1986 - 680 Seiten "Volumes 1 through 10 of the series present a unique historical overview of the critical response to each Shakespearean work, representing a broad range of interpretations. Volumes 11 through 26 recount the performance history of Shakespeare's plays on th stage and screen through eyewitness reviews and retrospective evaluations of individual productions, comparisons of major interpretations, and discussions of staging issues. Beginning with Volume 27 in the series, SC focuses on criticism published after 1960, with a view to providing the reader with the most significant modern critical approaches. Each of these volumes is organized around a theme that is central to the study of Shakespeare, such as politics, religion, or sexuality." [Scope of the Series note, vol. 37.] |
Im Buch
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Seite 216
... imagination of a poet , —an imagination on the one hand ex- tremely sensitive to impressions of a certain kind , and , on the other , productive of violent disturbance both of mind and body . Through it he is kept in contact with ...
... imagination of a poet , —an imagination on the one hand ex- tremely sensitive to impressions of a certain kind , and , on the other , productive of violent disturbance both of mind and body . Through it he is kept in contact with ...
Seite 359
... imagination , but an individual who recognizes imagination's importance to love and life as long as it does not usurp the place of reason and sanity — a conclusion similar to that reached by Schanzer . Bonnard also maintained that the ...
... imagination , but an individual who recognizes imagination's importance to love and life as long as it does not usurp the place of reason and sanity — a conclusion similar to that reached by Schanzer . Bonnard also maintained that the ...
Seite 443
... imagination's role in love with its role in dramatic poetry . For him , with his view that " the best in this kind are but shadows " [ V. i . 211 ] , pastimes to be tolerantly accepted when offered , the imagination of the poet commands ...
... imagination's role in love with its role in dramatic poetry . For him , with his view that " the best in this kind are but shadows " [ V. i . 211 ] , pastimes to be tolerantly accepted when offered , the imagination of the poet commands ...
Inhalt
Preface | 7 |
Henry VI Parts 1 2 and 3 11 | 163 |
A Midsummer Nights Dream | 356 |
Urheberrecht | |
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Häufige Begriffe und Wortgruppen
A. C. Bradley action ambition appears argues audience Banquo becomes beth blood Cade character chronicle contrast crime critics crown darkness death deed dramatic dramatist Duke E. M. W. Tillyard Edward England English essay date evil excerpt fairies father fear feel forces French Gervinus Gloucester Hamlet hand Henry VI plays Henry VI trilogy Henry's Hermann Ulrici hero horror house of York human imagery images imagination innocent Jack Cade Joan killed King Henry Lady Macbeth Lear Macduff Malcolm Margaret Midsummer Night's Dream mind moral murder of Duncan nature night noble passage pity play's plot poet poetic poetry political present Queen Richard Richard III scene sense Shake Shakespeare Shakspere sleep soliloquy soul speare speare's speech spirit Suffolk suggested supernatural symbol Talbot theme Theseus thou thought throne tragedy tragic Warwick Weird Sisters whole wife William Shakespeare Wilson Knight witches words York York's