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 41
... self - reflexive , the playwright appears to be exploring both the limits of his craft and the impact that it has on ... conscious speech thus ad- mits to her own powers of self - delusion , on the one hand , while , on the other ...
... self - reflexive , the playwright appears to be exploring both the limits of his craft and the impact that it has on ... conscious speech thus ad- mits to her own powers of self - delusion , on the one hand , while , on the other ...
Página 157
... self - conscious speech - making of the characters gives us the impression that they are stepping in and out of character at will , thereby appearing to be both characters in a play ( the illusion ) and actors on a stage ( the reality ) ...
... self - conscious speech - making of the characters gives us the impression that they are stepping in and out of character at will , thereby appearing to be both characters in a play ( the illusion ) and actors on a stage ( the reality ) ...
Página 162
... self - conscious artifice , its heightened concern for manner over matter , is its most striking aspect , but unlike the Marston play , this one offers a central role which goes beyond mere satiric posturing for its own sake to embrace ...
... self - conscious artifice , its heightened concern for manner over matter , is its most striking aspect , but unlike the Marston play , this one offers a central role which goes beyond mere satiric posturing for its own sake to embrace ...
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