Shakespearean Criticism: Excerpts from the Criticism of William Shakespeare's Plays and Poetry, from the First Published Appraisals to Current Evaluations, Volumen40Gale Research Company, 1984 |
Dentro del libro
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Página 27
... argues that the representational strategies of the playwright she calls " the patriarchal bard , " like cinematic cues , " resist feminist manipulation by denying an autonomous po- sition for the female viewer of the action . " Shake ...
... argues that the representational strategies of the playwright she calls " the patriarchal bard , " like cinematic cues , " resist feminist manipulation by denying an autonomous po- sition for the female viewer of the action . " Shake ...
Página 106
... argues that in contrast to Shakespeare's other disguised heroines , Portia chooses to take on a male disguise herself ; she is not coerced to do so by her circumstances . Addi- tionally , Shapiro contends , by adopting the role of ...
... argues that in contrast to Shakespeare's other disguised heroines , Portia chooses to take on a male disguise herself ; she is not coerced to do so by her circumstances . Addi- tionally , Shapiro contends , by adopting the role of ...
Página 227
... argues that the " star , " love , is a necessary assumption if the world is to make any sense . We must start with ... argue that , finally , the sonnets are not tricksy , show - off , prestidigitous . Of course they are . They are also ...
... argues that the " star , " love , is a necessary assumption if the world is to make any sense . We must start with ... argue that , finally , the sonnets are not tricksy , show - off , prestidigitous . Of course they are . They are also ...
Contenido
Gender Identity | 1 |
The Merchant of Venice | 105 |
Sonnets | 220 |
Derechos de autor | |
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Shakespearean Criticism: Excerpts from the Criticism of William ..., Volumen28 Vista de fragmentos - 1984 |
Términos y frases comunes
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