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 222
... rhetorical man , nicely distinguished . Serious poetic , like tragedy itself , premises a central self ; rhetorical poetic premises a social self whose behavior splits into two parts - persuasion and plea- sure . We might think such a ...
... rhetorical man , nicely distinguished . Serious poetic , like tragedy itself , premises a central self ; rhetorical poetic premises a social self whose behavior splits into two parts - persuasion and plea- sure . We might think such a ...
Página 223
... rhetorical coordinates can play games of order or dis- order , balance and unbalance . They can use either for its whole range of nefarious applied purpose . The re- constructing and re - creating reader of the last few years develops ...
... rhetorical coordinates can play games of order or dis- order , balance and unbalance . They can use either for its whole range of nefarious applied purpose . The re- constructing and re - creating reader of the last few years develops ...
Página 224
... rhetorical grounds . And to this perplexity add a rhetorical coup for the first seventeen . Shake- speare came to the sonnet game when it was old and had to galvanize somehow a worn - out repertoire of Petrarchan clichés . He does so ...
... rhetorical grounds . And to this perplexity add a rhetorical coup for the first seventeen . Shake- speare came to the sonnet game when it was old and had to galvanize somehow a worn - out repertoire of Petrarchan clichés . He does so ...
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