ShakespearePrentice Hall, Harvester Wheatsheaf, 1995 - 165 страници This text mounts a challenge to orthodox and oppositional critics who continue to regard Shakespearian drama as conservative in intent or effect. |
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Страница 22
... once upon the mystery of Antonio's sadness , writhing itself into a knot of frustrated interrogation which is never untangled . The nominal hero of the play remains to the end a cryptically still and passive presence , the absent centre ...
... once upon the mystery of Antonio's sadness , writhing itself into a knot of frustrated interrogation which is never untangled . The nominal hero of the play remains to the end a cryptically still and passive presence , the absent centre ...
Страница 23
... once again as surety for Bassanio : I once did lend my body for his wealth , ... I dare be bound again , My soul upon the forfeit , that your lord Will never more break faith advisedly . ( V. i . 249-53 ) These lines expose an ominous ...
... once again as surety for Bassanio : I once did lend my body for his wealth , ... I dare be bound again , My soul upon the forfeit , that your lord Will never more break faith advisedly . ( V. i . 249-53 ) These lines expose an ominous ...
Страница 111
... once and for all'.11 Romances invite us to recognise and play experimentally with imaginable alternatives , which strengthen our conviction that a different kind of world could actually be realised.12 Both the major romantic comedies ...
... once and for all'.11 Romances invite us to recognise and play experimentally with imaginable alternatives , which strengthen our conviction that a different kind of world could actually be realised.12 Both the major romantic comedies ...
Съдържание
1 and 2 Henry IV | 40 |
the subversive imagination | 70 |
the utopian | 106 |
Авторско право | |
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2nd edn actual Alternative audience authority become Chapter comedies common conventional criticism cultural Deconstruction desire difference Dollimore drama effect Elizabethan English English Studies Essays experience fact future gender give Hamlet Henry Henry IV human Ibid identity ideology imagination interpretation Jameson John kind King Lear language less Literary literature lives London Macbeth Manchester Marxism meaning Merchant of Venice misogyny moral narrative nature once opening original Othello Oxford past perspective Peter play play's Political possible practice present production Prospero question radical reading reality recent Renaissance revised role romances Romeo and Juliet ruled scene sense sexual Shake Shakespeare Shylock Sinfield social society speech stage structure Tempest theatre Theory things thou tion Tradition tragedy tragic turn universal values vision voice women York York and London