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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... theater to activate the con- science , arouse guilt , and elicit confessions of wrong- doing . In both plays he draws on Calvinist theories of the conscience to explain the powerful affect of theater , and in both he nurtures as well as ...
... theater to activate the con- science , arouse guilt , and elicit confessions of wrong- doing . In both plays he draws on Calvinist theories of the conscience to explain the powerful affect of theater , and in both he nurtures as well as ...
Seite 99
... theater aspired to the con- dition of opera ? You don't go to hear Joan Sutherland's Norma or Placido Domingo's Otello or Maria Callas's Tosca ; you go to hear Tosca's Callas , Otello's Domingo , and Norma's Sutherland . Of course , any ...
... theater aspired to the con- dition of opera ? You don't go to hear Joan Sutherland's Norma or Placido Domingo's Otello or Maria Callas's Tosca ; you go to hear Tosca's Callas , Otello's Domingo , and Norma's Sutherland . Of course , any ...
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... ( theater ) audience , the character he plays speaks as if to an audience . The character's audience is always a fiction : 27 In theater signifier and signified , pretense and pretender , draw unusually close . Or , as Peter Handke more ...
... ( theater ) audience , the character he plays speaks as if to an audience . The character's audience is always a fiction : 27 In theater signifier and signified , pretense and pretender , draw unusually close . Or , as Peter Handke more ...
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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