The Centennial Review: CR., Band 21Michigan State University, College of Arts & Letters, 1977 |
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Seite 202
... drama , drama against reality and reality against dream . Puck , as one example , is a real actor on a real stage who describes himself variously in the play as a fantastic explanation of common mishaps : And sometimes lurk I in a ...
... drama , drama against reality and reality against dream . Puck , as one example , is a real actor on a real stage who describes himself variously in the play as a fantastic explanation of common mishaps : And sometimes lurk I in a ...
Seite 207
... drama is always mimesis . It can never be poesis . Bottom is like an ass , a truth conveyed through a simile . Never can Bottom be translated into Calderwood's genuine " apple - crunching , ear- twitching article . " This attitude ...
... drama is always mimesis . It can never be poesis . Bottom is like an ass , a truth conveyed through a simile . Never can Bottom be translated into Calderwood's genuine " apple - crunching , ear- twitching article . " This attitude ...
Seite 214
... drama and Restoration drama ( aside from comedy ) , and the language of Baroque opera reveal the static , Cartesian - Baroque psychology : too often they explicitly describe and assert emotion - even Pope's Eloisa - rather than create ...
... drama and Restoration drama ( aside from comedy ) , and the language of Baroque opera reveal the static , Cartesian - Baroque psychology : too often they explicitly describe and assert emotion - even Pope's Eloisa - rather than create ...
Inhalt
JOSEPH J KWIAT | 19 |
67 | 36 |
Adoration of the Magi The Uffizi | 67 |
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