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 145
... opening scene we would do well to remember a point that has been very well made by David Kastan . Discussing 1 Henry VI , he notes that in the opening scene of his first tetral- ogy , Shakespeare stresses the fact that we are in the ...
... opening scene we would do well to remember a point that has been very well made by David Kastan . Discussing 1 Henry VI , he notes that in the opening scene of his first tetral- ogy , Shakespeare stresses the fact that we are in the ...
Seite 146
... opening lines , the anger shown at the end must be different both in tone and attribu- tion than at the beginning . The effects are not crude , but they are numerous and have a cumulative destabi- lizing effect , no matter how the scene ...
... opening lines , the anger shown at the end must be different both in tone and attribu- tion than at the beginning . The effects are not crude , but they are numerous and have a cumulative destabi- lizing effect , no matter how the scene ...
Seite 303
... opening of the heavens before shep- herds occurs in Milton's On the Morning of Christ's Nativity . There , the " music sweet " of " Divinely warbled voice / Answering the stringed noise " is said by the poetic narrator to help the ...
... opening of the heavens before shep- herds occurs in Milton's On the Morning of Christ's Nativity . There , the " music sweet " of " Divinely warbled voice / Answering the stringed noise " is said by the poetic narrator to help the ...
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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