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.] |
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Seite 454
... speak in couplets , so that her arrival and the couplet scene that follows are prepared for gradually and effectively . Conversely , when the playwright wants strong contrast , he uses it . The first of the mechanicals ' scenes is ...
... speak in couplets , so that her arrival and the couplet scene that follows are prepared for gradually and effectively . Conversely , when the playwright wants strong contrast , he uses it . The first of the mechanicals ' scenes is ...
Seite 460
... speak both reflects and makes explicit the changes that take place in their awareness of what goes on around them . To summarise baldly for the moment , they enter the wood speaking in a highly organised , witty , complicated manner ...
... speak both reflects and makes explicit the changes that take place in their awareness of what goes on around them . To summarise baldly for the moment , they enter the wood speaking in a highly organised , witty , complicated manner ...
Seite 522
... speak , dumbly have broke off , Not paying me a welcome . Trust me , sweet , Out of this silence yet I picked a welcome , And in the modesty of fearful duty I read as much as from the rattling tongue Of saucy and audacious eloquence ...
... speak , dumbly have broke off , Not paying me a welcome . Trust me , sweet , Out of this silence yet I picked a welcome , And in the modesty of fearful duty I read as much as from the rattling tongue Of saucy and audacious eloquence ...
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