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. |
Dentro del libro
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Página 7
... Visual Arts for the Study of Early Drama ( 1977 ) ; York Art , in collaboration with David E. O'Connor . Present project : a book on the aesthetics of medieval and Renaissance drama . FREDERICK O. WAAGE : Teaches at East Tennessee State ...
... Visual Arts for the Study of Early Drama ( 1977 ) ; York Art , in collaboration with David E. O'Connor . Present project : a book on the aesthetics of medieval and Renaissance drama . FREDERICK O. WAAGE : Teaches at East Tennessee State ...
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... visual imagery in his poetry , confirms , I believe , that he almost certainly had some know- ledge of the visual arts from which he draws here . Shakespeare often tricks us into accepting the reality of imagination for the illusion of ...
... visual imagery in his poetry , confirms , I believe , that he almost certainly had some know- ledge of the visual arts from which he draws here . Shakespeare often tricks us into accepting the reality of imagination for the illusion of ...
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... visually . On the eve of battle Nestor addresses the Greek warriors and , as in the etchings , these figures are caught and frozen into awkward , uncomfortable positions , held captive by his words . As they listen their rage grows ...
... visually . On the eve of battle Nestor addresses the Greek warriors and , as in the etchings , these figures are caught and frozen into awkward , uncomfortable positions , held captive by his words . As they listen their rage grows ...
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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