Shakespearean Criticism: Excerpts from the Criticism of William Shakespeare's Plays and Poetry, from the First Published Appraisals to Current Evaluations, Band 40Gale Research Company, 1984 |
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Seite 28
... audience response on the speaker , but direct it toward his interpretation of events . But throughout Ophelia's soliloquy after the nunnery scene , Hamlet remains before the audience : " O , what a noble mind is here o'erthrown ...
... audience response on the speaker , but direct it toward his interpretation of events . But throughout Ophelia's soliloquy after the nunnery scene , Hamlet remains before the audience : " O , what a noble mind is here o'erthrown ...
Seite 161
... audience as them- selves in soliloquies while in male garb . In her own person and as Balthazar , Portia has no soliloquies nor obvious asides , nor are there any unconscious rever- sions to female identity , " no funny , foolish slips ...
... audience as them- selves in soliloquies while in male garb . In her own person and as Balthazar , Portia has no soliloquies nor obvious asides , nor are there any unconscious rever- sions to female identity , " no funny , foolish slips ...
Seite 386
... audience on guard and left the gender of Ascanio an open question . That question is abruptly resolved in III.i. Massinger begins the scene by introducing Octavio , an exiled courtier , meditating on his fall from grace . His rumi ...
... audience on guard and left the gender of Ascanio an open question . That question is abruptly resolved in III.i. Massinger begins the scene by introducing Octavio , an exiled courtier , meditating on his fall from grace . His rumi ...
Inhalt
Gender Identity | 1 |
The Merchant of Venice | 105 |
Sonnets | 220 |
Urheberrecht | |
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