Shakespeare, Contemporary Critical ApproachesHarry Raphael Garvin, Michael Payne Bucknell University Press, 1980 - 187 páginas The study and criticism of Shakespeare has always been of major interest in the literary world but never more than in the last ten years. The essays in this volume explore Shakespeare's art that is complementary to the experience of his plays. The feelings of the essays create a sensitive atmosphere for creative study. |
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... Italy ) that were dominant in England after 1590 , feudal and bourgeois concepts of values , the sup- pression and exploitation of the peasant- ry for the benefit of the traditional ruling class , the confusion of interests in the ...
... Italy ) that were dominant in England after 1590 , feudal and bourgeois concepts of values , the sup- pression and exploitation of the peasant- ry for the benefit of the traditional ruling class , the confusion of interests in the ...
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... Italian Cinquecento Art and Shake- speare's Last Plays FREDERICK O. WAAGE 56 Shakespeare and Marxism Fuedal and Bourgeois Concepts of Value in The Merchant of Venice BURTON HATLEN 91 King Lear and the Social Dimension of Shakespearean ...
... Italian Cinquecento Art and Shake- speare's Last Plays FREDERICK O. WAAGE 56 Shakespeare and Marxism Fuedal and Bourgeois Concepts of Value in The Merchant of Venice BURTON HATLEN 91 King Lear and the Social Dimension of Shakespearean ...
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... Italy for artists to redecorate medieval castles and build the palace of Nonsuch , but few artists came to England and most of those who did made a speedy retreat to the warmer climate of Italy . 10 No painting by a major Italian artist ...
... Italy for artists to redecorate medieval castles and build the palace of Nonsuch , but few artists came to England and most of those who did made a speedy retreat to the warmer climate of Italy . 10 No painting by a major Italian artist ...
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... Italian artist , Girolamo Porro , who illustrated the 1584 edition by Franceschi upon which Harington based his translation . The subject matter is not parallel with Lucrece's painting , but scenes of countryside , wall- ed cities , men ...
... Italian artist , Girolamo Porro , who illustrated the 1584 edition by Franceschi upon which Harington based his translation . The subject matter is not parallel with Lucrece's painting , but scenes of countryside , wall- ed cities , men ...
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... Italy that spread to the north of Europe was no longer the calm , lyrical , idealized , harmoniously balanced art of the earlier period of the Renaissance . Now it had become increasingly complex , dramatic , distorted , and dynamic ...
... Italy that spread to the north of Europe was no longer the calm , lyrical , idealized , harmoniously balanced art of the earlier period of the Renaissance . Now it had become increasingly complex , dramatic , distorted , and dynamic ...
Contenido
13 | |
Circe Venus and the Whore of Babylon | 31 |
Italian Cinquecento Art and Shakespeares Last Plays | 54 |
Shakespeare and Marxism | 85 |
Feudal and Bourgeois Concepts of Value in The Merchant of Venice | 87 |
King Lear and the Social Dimensions of Shakespearean Tragic Form 16031608 | 100 |
Interpretations of The Tempest | 113 |
Cracking the Code of The Tempest | 115 |
Contrary Comparisons in The Tempest | 126 |
Shakespeares Creation of a Fit Audience for The Tempest | 136 |
The Perspective of The Tempest | 148 |
Telling the Magician from the Magic in The Tempest | 164 |
Términos y frases comunes
aesthetic Alonso Antony and Cleopatra Antony's Aretino's Ariel aristocratic artist audience becomes Belmont bourgeois concept Caliban capitalism casket characters Circe concept of value contrary contrast created critics Cymbeline death divine dramatic emotion England English etchings evil example experience Ferdinand feudal figure Giulio Romano Gonzalo Hermione Hilliard human Ibid idea ideal imagination imitation Italian King Lear last plays Leontes live Lomazzo London Lucrece Lucrece's Macbeth magic magician Mannerist Mark Antony masque medieval Merchant of Venice metastance Mignon's mind Miranda moral nature Nicholas Hilliard Othello Oxford painter painting passion Pericles perspective picture play's pleasure plot Portia present Prince Prospero reality Renaissance role scene seems sense Shakespeare Shakespeare's play Shylock social identity society sonnets spectator spirit stance story suggests symbolic Tempest theater Timon of Athens tion traditional tragedy tragic trans transcendence transformation Troy truth University Press Vasari Venus vision visual art Winter's Tale York