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 |
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Página 23
... fact in its own world , but both in fact are shaped by the conventions of the song itself . On the one hand , then , this poem minimizes conflict and even contrast . But inside its imperturbable shape , its contrasts provide a great ...
... fact in its own world , but both in fact are shaped by the conventions of the song itself . On the one hand , then , this poem minimizes conflict and even contrast . But inside its imperturbable shape , its contrasts provide a great ...
Página 102
... fact that mothering was not a choice but an inevitable bur- den , for good or ill . Shakespeare's ironic awareness of this uninvited routine of constant motherhood emerges in The Winter's Tale when he portrays Hermione in disgruntled ...
... fact that mothering was not a choice but an inevitable bur- den , for good or ill . Shakespeare's ironic awareness of this uninvited routine of constant motherhood emerges in The Winter's Tale when he portrays Hermione in disgruntled ...
Página 294
... fact , for in fact the speaker as well as his friend belongs to the category " men , " and so is subject to time . The authority expressed in his detachment must therefore depend on the ways in which his language manipulates the ...
... fact , for in fact the speaker as well as his friend belongs to the category " men , " and so is subject to time . The authority expressed in his detachment must therefore depend on the ways in which his language manipulates the ...
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