Shakespearean Criticism: Excerpts from the Criticism of William Shakespeare's Plays and Poetry, from the First Published Appraisals to Current Evaluations, Band 57Gale Research Company, 1984 |
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Seite 54
... stage nor of how to appear on stage as two characters simultaneously . Rather , the discrepancy between actor and character separates the signifier from the signi- fied , pointing this time to the significance of language in the ...
... stage nor of how to appear on stage as two characters simultaneously . Rather , the discrepancy between actor and character separates the signifier from the signi- fied , pointing this time to the significance of language in the ...
Seite 56
... stage's interest in reflexivity and meta - theatrical reflection , we are often anxious to avoid detecting the same in some more recent kinds of theatre . Yet evidence is certainly against such prejudice . Ibsen , like most nineteenth ...
... stage's interest in reflexivity and meta - theatrical reflection , we are often anxious to avoid detecting the same in some more recent kinds of theatre . Yet evidence is certainly against such prejudice . Ibsen , like most nineteenth ...
Seite 84
... stage direction in the First Folio text . The stage directions inserted by editors indicate uncertainty about reading Oliver's act of aggression : Agnes Latham puts " striking him " in the New Arden edition ( London : Methuen , 1975 ) ...
... stage direction in the First Folio text . The stage directions inserted by editors indicate uncertainty about reading Oliver's act of aggression : Agnes Latham puts " striking him " in the New Arden edition ( London : Methuen , 1975 ) ...
Inhalt
Introduction | 1 |
History and Philosophy | 31 |
Representation and Identity | 40 |
Urheberrecht | |
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Häufige Begriffe und Wortgruppen
action actor androgyny appears Arden argues audience Banquo becomes blood body Celia character comedy comic critics culture death discourse disguise dramatic Duke Duncan early modern Elizabethan England English essay evil Falstaff fantasy father fear female Ganymede gender genre Guarini Hal's Henry Henry IV plays Henry's Hermione Hermione's Hotspur human ideology imagination Jaques King Lady Macbeth Lady Macduff language Leontes Leontes's literary London Macduff Machiavelli Malcolm male marriage masculine means moral murder narrative nature Orlando Orpheus Ovid Ovid's pastoral Paulina Perdita performance performative utterance play play's political Polixenes present Prince Hal Pygmalion queen reading reformation Renaissance Richard Richard II role romance Rosalind Ross scene seems sexual Shake Shakespeare social speak speare's speech stage statue Stephen Orgel story suggests superego theater theatrical thee thou tion tragedy tragicomedy Univ University Press violence wife Winter's Tale witches woman women words wrestling York