Shakespearean CriticismMichelle Lee Cengage Gale, 1999 - 420 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. |
Im Buch
Ergebnisse 1-3 von 39
Seite 16
... rhetorical loser . Not until the second tetral- ogy will Shakespeare bring his assessments of lan- guage and politics more nearly into balance . 1 Richard III is a wordy play , the second longest in the canon , only 150 lines shorter ...
... rhetorical loser . Not until the second tetral- ogy will Shakespeare bring his assessments of lan- guage and politics more nearly into balance . 1 Richard III is a wordy play , the second longest in the canon , only 150 lines shorter ...
Seite 53
... rhetorical terms , then , the key at every point to the plot of the play is found in rhetoric or speech art . For the char- acter of lago , first , enough has been said in past criti- cism of his acting and rhetorical skill , verging on ...
... rhetorical terms , then , the key at every point to the plot of the play is found in rhetoric or speech art . For the char- acter of lago , first , enough has been said in past criti- cism of his acting and rhetorical skill , verging on ...
Seite 293
... Rhetorical exercises therefore work , to use Kenneth Burke's terms from The Rhetoric of Motives , by encouraging identi- fication , which in turn implies division : " Identifica- tion is proclaimed with earnestness precisely because ...
... Rhetorical exercises therefore work , to use Kenneth Burke's terms from The Rhetoric of Motives , by encouraging identi- fication , which in turn implies division : " Identifica- tion is proclaimed with earnestness precisely because ...
Inhalt
Deception in Shakespeares Plays | 1 |
Antony and Cleopatra | 70 |
Cymbeline | 205 |
Urheberrecht | |
3 weitere Abschnitte werden nicht angezeigt.
Andere Ausgaben - Alle anzeigen
Häufige Begriffe und Wortgruppen
action actor Antony and Cleopatra Antony's appears audience becomes Caesar Caius character Cleo Cloten comedy comic critics Cymbeline Cymbeline's death desire disguise dramatic dream Egypt Elizabethan Enobarbus Falstaff father female fiction final Ford Ford's Garter genre Guiderius Hal's Hamlet hath Henry Henry IV Herne the Hunter hero heroine honor husband Iachimo identity imagination Imogen Jack-a-Lent King King Lear knight Lear London lovers Macbeth male marriage Merry Wives Mistress moral nature noble Nosworthy Octavius Othello patra Pisanio play's plot political Pompey Posthumus Posthumus's Prince protagonists queen Renaissance rhetorical Richard Richard III role Roman Rome Romeo and Juliet says scene seems sense sexual Shake Shakespeare speaks speare speare's speech stage suggests theatrical thee theme thou tion tragedy tragic truth Univ University Press vision wager wife Windsor Winter's Tale witch Wives of Windsor woman women words York