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 |
Im Buch
Ergebnisse 1-3 von 89
Seite 9
... female bodies represent the interrelationship of the male and female principles . See Erich Neumann , The Great Mother , trans . Ralph Manheim , 2d ed . , Bollingen Series , 47 ( Princeton , N. J .: Princeton Uni- versity Press , 1963 ) ...
... female bodies represent the interrelationship of the male and female principles . See Erich Neumann , The Great Mother , trans . Ralph Manheim , 2d ed . , Bollingen Series , 47 ( Princeton , N. J .: Princeton Uni- versity Press , 1963 ) ...
Seite 27
... female roles in performance and envi- sions " a theatre where patriarchal representations of femi- ninity can be transformed into roles for living women . " ] Feminist film theorists have revealed ways cinematic representation ...
... female roles in performance and envi- sions " a theatre where patriarchal representations of femi- ninity can be transformed into roles for living women . " ] Feminist film theorists have revealed ways cinematic representation ...
Seite 28
... female characters rarely appear unaccompanied by males . Stage practice does not in this simply mime social restrictions on women's freedom of movement , but reveals its dependence on the narrowed range of difference at its disposal ...
... female characters rarely appear unaccompanied by males . Stage practice does not in this simply mime social restrictions on women's freedom of movement , but reveals its dependence on the narrowed range of difference at its disposal ...
Inhalt
Gender Identity | 1 |
The Merchant of Venice | 105 |
Sonnets | 220 |
Urheberrecht | |
1 weitere Abschnitte werden nicht angezeigt.
Andere Ausgaben - Alle anzeigen
Häufige Begriffe und Wortgruppen
action actor Antonio appears argues audience Bassanio become begins bond calls castration characters choice Christian circumcision claims Cleopatra comedies comic conventional course critics daughter death describes desire discussion disguise Elizabethan essay example exchange father fear feel female feminine figure final flesh gender give hand heart hero heroines human husband identity interest John kind Lady less lines live London look lover Macbeth male marriage masculine means Merchant of Venice moral mother nature never offers person play plot poems political Portia possible present Press reading refer relations relationship rhetorical ring role Rosalind says scene seems sense sexual Shake Shakespeare Shylock social sonnets speak speech spirit stage suggests tell thing thou tion tragedy true turn University wife woman women York young