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 223
... present orderless order , invite rear- rangement . All the rearrangers are right . Aleatory com- position allowing a performer re - creative latitude- is not after all a modern invention . It was the custom- ary proceeding for much ...
... present orderless order , invite rear- rangement . All the rearrangers are right . Aleatory com- position allowing a performer re - creative latitude- is not after all a modern invention . It was the custom- ary proceeding for much ...
Página 226
... presents , it inevitably looks at past and future . It pleads , in its arguments , for the evanescence of the present but by the allegory of its form sees life as but a series of presents . Sonnet 81 thus celebrates the sonneteer and ...
... presents , it inevitably looks at past and future . It pleads , in its arguments , for the evanescence of the present but by the allegory of its form sees life as but a series of presents . Sonnet 81 thus celebrates the sonneteer and ...
Página 258
... present a male - male love that , like the love of the Greeks , is set firmly within a structure of institutionalized social relations that are carried out via women : marriage , name , family , loyalty to progenitors and to posterity ...
... present a male - male love that , like the love of the Greeks , is set firmly within a structure of institutionalized social relations that are carried out via women : marriage , name , family , loyalty to progenitors and to posterity ...
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