Shifting Perspectives and the Stylish Style: Mannerism in Shakespeare and His Jacobean ContemporariesUniversity of Toronto Press, 1988 - 227 páginas |
Dentro del libro
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Página 44
... Imogen , Ferdinand , and Prospero are all assumed dead at one time or another by other characters in their respective plays , yet all are counted among the living in the end . Nevertheless , mistaken though their as- sumptions are ...
... Imogen , Ferdinand , and Prospero are all assumed dead at one time or another by other characters in their respective plays , yet all are counted among the living in the end . Nevertheless , mistaken though their as- sumptions are ...
Página 106
... Imogen's disguise in advance of her scenes with Belarius and the boys . We also know , as Imogen does not , that the boys are her brothers , since Belarius has told us so prior to Imogen's arrival at the cave , and we subsequently know ...
... Imogen's disguise in advance of her scenes with Belarius and the boys . We also know , as Imogen does not , that the boys are her brothers , since Belarius has told us so prior to Imogen's arrival at the cave , and we subsequently know ...
Página 145
... Imogen are more complex than those involving Hero.20 The clarity with which the audience is allowed to perceive the illusion is the primary measure of difference between the Elizabethan comedy and the Jacobean romance . Posthumus ...
... Imogen are more complex than those involving Hero.20 The clarity with which the audience is allowed to perceive the illusion is the primary measure of difference between the Elizabethan comedy and the Jacobean romance . Posthumus ...
Contenido
CHAPTER I | 19 |
ON UNPREDICTABILITY AND NONCLASSICAL UNITY | 97 |
CHAPTER IV | 118 |
Derechos de autor | |
Otras 5 secciones no mostradas
Términos y frases comunes
actor Antonio's Revenge Antony appears Arbaces Architecture Arruntius artificial artistic Arundel aspect audience Beaumont and Fletcher Bosola character Cleopatra Cloten comedy contrast conventional court Cressida Cymbeline death device disguise dramatist dramaturgical dream Duchess Duke earlier effect Elizabethan English false fool Giulio Romano Hartt Hermione hero Hilliard illusion illusory awareness Imogen Inigo Jones interest Italian Jacobean drama John Jones Jonson kind King King's Lear Leontes London main action Malcontent Malevole's Mannerism mannerist art Marston masque mocks nature Nicholas Hilliard painter painting Palazzo del Té Perdita Pericles perspective Philaster Piero play metaphor play's plot Posthumus posture Prospero Renaissance reveals revenge Revenger's Tragedy role satiric says scene SECOND LORD Sejanus self-conscious sense Shakespeare Shakespearean romance simultaneously speak speech Sprecher figures sprezzatura stage stylish style theatre theatrical Thersites thou Timon Tintoretto tragedy tragicomedy Troilus Troilus and Cressida University Press v.ii Vasari Vindice's vision visual Winter's Tale