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 157
... play - world itself . Complementing the play's self - conscious characterizations is the way in which the language of the play is employed by the playwright to remind us continually of the play's theatricality . In this regard the pro ...
... play - world itself . Complementing the play's self - conscious characterizations is the way in which the language of the play is employed by the playwright to remind us continually of the play's theatricality . In this regard the pro ...
Página 171
... play's Pirandellesque exploration of the nature of theatrical illusion would surely have piqued Shakespeare's interest , whether he saw or merely heard about the production of Beaumont's remarkable play . The audience's awareness of the ...
... play's Pirandellesque exploration of the nature of theatrical illusion would surely have piqued Shakespeare's interest , whether he saw or merely heard about the production of Beaumont's remarkable play . The audience's awareness of the ...
Página 187
... play- wright's overt and deliberate cultivation of illusory awareness - what you see may not be what you get - as in the play's sheepshearing scene . Hovering over all the action is the prophecy of Apollo . Then another aspect of the play's ...
... play- wright's overt and deliberate cultivation of illusory awareness - what you see may not be what you get - as in the play's sheepshearing scene . Hovering over all the action is the prophecy of Apollo . Then another aspect of the play's ...
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