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 57
... sense of self is in some way fragmented during the play and who then achieve at more integrated sense of identity in the final scenes , or , to put it another way , we can ask whether achievement of a whole sense of self is , like ...
... sense of self is in some way fragmented during the play and who then achieve at more integrated sense of identity in the final scenes , or , to put it another way , we can ask whether achievement of a whole sense of self is , like ...
Seite 59
... sense of triumph commit a suicide that is symbolically appropriate to their life , for they insist that they themselves are giving their life its final shape . And those too who ask that their story be told correctly are exercising a ...
... sense of triumph commit a suicide that is symbolically appropriate to their life , for they insist that they themselves are giving their life its final shape . And those too who ask that their story be told correctly are exercising a ...
Seite 62
... sense , because artistic control is control of illusion and , as I suggested above in talking about Ti- mon , that very lack of strict sense that illusion implies can be the dramatist's means of doing justice to a world that doesn't make ...
... sense , because artistic control is control of illusion and , as I suggested above in talking about Ti- mon , that very lack of strict sense that illusion implies can be the dramatist's means of doing justice to a world that doesn't make ...
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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