Shakespearean CriticismRalph Berry, Graham Bradshaw, William C. Carroll Cengage Gale, 1999 - 420 Seiten Presents literary criticism on the plays and poetry of Shakespeare. Critical essays are selected from leading sources, including journals, magazines, books, reviews, diaries, newspapers, pamphlets, and scholarly papers. Includes commentary by Shakespeare's contemporaries as well as a full range of views from later centuries, with an emphasis on contemporary analysis. Includes aesthetic criticism, textual criticism, and criticism of Shakespeare in performance. |
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Seite 141
... course , splits in the course of the play because the Bastard of the early part of the action metamorphoses into a dra- matically different one by the end , but this schema . serves well enough at this point . 29 He engages in the same ...
... course , splits in the course of the play because the Bastard of the early part of the action metamorphoses into a dra- matically different one by the end , but this schema . serves well enough at this point . 29 He engages in the same ...
Seite 146
... course many different performance arcs that can be cut through this scene , but even if the actor plays some- thing like anger in the opening lines , the anger shown at the end must be different both in tone and attribu- tion than at ...
... course many different performance arcs that can be cut through this scene , but even if the actor plays some- thing like anger in the opening lines , the anger shown at the end must be different both in tone and attribu- tion than at ...
Seite 285
... course that Lucrece kills herself and Clarissa explicitly rejects this course of action . Lovelace makes the contrast with Lucrece himself in III.220 ( ' no Lucretia - like vengeance upon herself in her thought ' ) ; and Clarissa ...
... course that Lucrece kills herself and Clarissa explicitly rejects this course of action . Lovelace makes the contrast with Lucrece himself in III.220 ( ' no Lucretia - like vengeance upon herself in her thought ' ) ; and Clarissa ...
Inhalt
Representation and Reformation in Measure for Measure | 14 |
Sidney Homann What Do I Do Now? Directing A Midsummer Nights Dream | 23 |
Lisa Hopkins Marriage as Comic Closure | 32 |
Urheberrecht | |
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