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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Antonio Antony and Cleopatra Antony's Arden argues audience Bassanio Belmont bond boy actor casket characters choice Christian circumcision comic conventional Coppélia Coriolanus Cressida critics Dark Lady daughter death desire dramatic Duke Elizabethan essay father fear female feminine feminist flesh friendship Ganymede gender Geneva Bible genre Gentlemen of Verona give Gratiano hath hero heroines husband identity ideology Jessica Jewish London Lorenzo lover Macbeth male disguise marriage masculine means Merchant of Venice moral mother Nerissa Olivia Orlando Orsino Othello passion play's plot poems poet poetic Portia relationship Renaissance rhetorical ring role Roman Rosalind says seems sense sequence sexual Shake Shakespeare Shakespeare's plays Shakespeare's Sonnets Shakespearean comedy Shylock social Sonnet 20 speare's speech spirit suggests sweet theatrical thee thou tion tragedy tragic tragicomedies trans trial scene Twelfth Night University Press usury Venetian Viola wife woman women words York young