Shakespearean Criticism, Band 60Presents 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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Ann Pasternak Slater points out how our responses are guided by Richard's on - stage audience : " Stage observers and theatre audience alike laugh uncomfortably at Richard's maudlin fantasy , and the selfindulgent image - spinning which ...
Ann Pasternak Slater points out how our responses are guided by Richard's on - stage audience : " Stage observers and theatre audience alike laugh uncomfortably at Richard's maudlin fantasy , and the selfindulgent image - spinning which ...
Seite 60
Other Shakespearean characters flirt in various ways with “ nothingness , " but only Timon actually becomes nothing because only he so completely leaves the place which in drama contains everything and is every where — the stage .
Other Shakespearean characters flirt in various ways with “ nothingness , " but only Timon actually becomes nothing because only he so completely leaves the place which in drama contains everything and is every where — the stage .
Seite 71
This Great Stage : Image and Structure in " King Lear " ( Baton Rouge : Louisiana State Univ . ... One does not find a unidirectional movement through progressive stages so much as an alternation between acceptance and denial .
This Great Stage : Image and Structure in " King Lear " ( Baton Rouge : Louisiana State Univ . ... One does not find a unidirectional movement through progressive stages so much as an alternation between acceptance and denial .
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