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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... Venus , and the Whore of Babylon CLIFFORD DAVIDSON 31 Be Stone No More : 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 ...
... Venus , and the Whore of Babylon CLIFFORD DAVIDSON 31 Be Stone No More : 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 ...
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... Venus and Adonis and The Rape of Lucrece . Another and more likely way in which Shakespeare could have become acquainted with sixteenth - century Renaissance art is through etchings and engravings . He almost certainly saw John Har ...
... Venus and Adonis and The Rape of Lucrece . Another and more likely way in which Shakespeare could have become acquainted with sixteenth - century Renaissance art is through etchings and engravings . He almost certainly saw John Har ...
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... Venus and Adonis , Helen of Troy , and even poor Lucrece - which were treated with quasi - allegorical significance . The figures from mythology came , in some respects , to signify qualities of the patron himself . The allegorical ...
... Venus and Adonis , Helen of Troy , and even poor Lucrece - which were treated with quasi - allegorical significance . The figures from mythology came , in some respects , to signify qualities of the patron himself . The allegorical ...
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... Venus , and Minerva - nude , arranged in a man- ner suggestive of the traditional grouping of the Three Graces ( two facing forward , one facing away ) , which in Neoplatonic terms signifies , according to Edgar Wind , Beauty , Love ...
... Venus , and Minerva - nude , arranged in a man- ner suggestive of the traditional grouping of the Three Graces ( two facing forward , one facing away ) , which in Neoplatonic terms signifies , according to Edgar Wind , Beauty , Love ...
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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