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 269
... language to estab- lish poetic autonomy seems fully operative here , the analogue between this and the other poetic invocations is complicated by an addition of metageneric punning . The distinction the speaker draws between " me " and ...
... language to estab- lish poetic autonomy seems fully operative here , the analogue between this and the other poetic invocations is complicated by an addition of metageneric punning . The distinction the speaker draws between " me " and ...
Página 270
... language work . The first sonnet of the Shakespearian sequence , in contrast , is an example of how to stop language from working . [ It ] simply erases the gendered determinants present in the title of Erasmus's epistle . What is in ...
... language work . The first sonnet of the Shakespearian sequence , in contrast , is an example of how to stop language from working . [ It ] simply erases the gendered determinants present in the title of Erasmus's epistle . What is in ...
Página 294
... language manipulates the inescapable facts of temporal experience . The language of the sonnet itself must demonstrate , by it essential characteristics and their peculiar effects , the power of the poet at war with time . It does so in ...
... language manipulates the inescapable facts of temporal experience . The language of the sonnet itself must demonstrate , by it essential characteristics and their peculiar effects , the power of the poet at war with time . It does so in ...
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