Shakespearean Criticism: Excerpts from the Criticism of William Shakespeare's Plays and Poetry, from the First Published Appraisals to Current Evaluations, Band 28Gale Research Company, 1984 |
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Seite 66
... audience . Here , the primary effect is not mocking laughter ; indeed , nothing in the scene grows out of that dimension of the comic experience that involves our superiority as audience . This is a kind of participatory comedy in which ...
... audience . Here , the primary effect is not mocking laughter ; indeed , nothing in the scene grows out of that dimension of the comic experience that involves our superiority as audience . This is a kind of participatory comedy in which ...
Seite 187
... audience by invoking the observ- ers ' own complex judgements on the action presented . These are based on the superiority of the audience's own hindsight to the characters ' anticipations of the outcomes of the situations on stage . Of ...
... audience by invoking the observ- ers ' own complex judgements on the action presented . These are based on the superiority of the audience's own hindsight to the characters ' anticipations of the outcomes of the situations on stage . Of ...
Seite 326
... audience , Cordelia becomes a being whose existence is felt the more intensely for her nonexistence on the stage and whose coming is desired the more earnestly for her slowness in coming . The result is that the audience half ...
... audience , Cordelia becomes a being whose existence is felt the more intensely for her nonexistence on the stage and whose coming is desired the more earnestly for her slowness in coming . The result is that the audience half ...
Inhalt
Texts and Revels in Twelfth Night | 1 |
Jonas Barish Mixed Verse and Prose in Shakespearean Comedy | 9 |
Shakespeare Psychoanalysis History | 15 |
Urheberrecht | |
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