Shakespearean CriticismCengage Gale, 2001 - 448 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 136
... calls performance , these important objections to my line of argument assume that the subversive effects of Viola's disguise are vitiated by the sexual orientation of the character Viola , while it is my position that the language of ...
... calls performance , these important objections to my line of argument assume that the subversive effects of Viola's disguise are vitiated by the sexual orientation of the character Viola , while it is my position that the language of ...
Seite 146
... call lesbianism or at least romantic friendship , which a poet like Katherine Phillips calls simply friendship , " is attributed to a same - sex loyalty typical of youth or even childhood . The very fact that Helena and Hermia have come ...
... call lesbianism or at least romantic friendship , which a poet like Katherine Phillips calls simply friendship , " is attributed to a same - sex loyalty typical of youth or even childhood . The very fact that Helena and Hermia have come ...
Seite 217
... calls for them to bring " hate- ful Crime . . . and reckless Impiety , stained with kindred blood , Error , and Rage ... call a second time : " Stars , hide your fires , / Let not light see my black and deep desires " ( I.iv.50-51 ) ...
... calls for them to bring " hate- ful Crime . . . and reckless Impiety , stained with kindred blood , Error , and Rage ... call a second time : " Stars , hide your fires , / Let not light see my black and deep desires " ( I.iv.50-51 ) ...
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Häufige Begriffe und Wortgruppen
allusions Antony and Cleopatra Arthur audience Bastard becomes body characters Christian claim Claudius comedy Cordelia Coriolanus critics cultural dead death desire dramatic dying Elizabethan England English erotic essay Falstaff father final scene gender goddess Hamlet hath Henry Henry VI Hercules hero heterosexual homoerotic homoeroticism homosexual Hotspur human imagination Ixion James Juliet Juno King John King Lear Lear's London lovers Macbeth male marriage Mars medieval Midsummer Night's Dream mimetic moral murder myth mythical mythology nature Olivia Orsino Othello Ovid Ovid's play's plot political Pygmalion Queen Renaissance Richard Richard III ritual role Roman Romeo says seems sense sexual Shake Shakespeare Shakespeare's play sion sleep social sodomy Sonnet 20 sonnets soul speare's speech stage story succession suggests symbolic Talbot theatrical thee Theseus thou throne Timon tion tragedy tragic Twelfth Night University Press Viola Winter's Tale women words York