Shifting Perspectives and the Stylish Style: Mannerism in Shakespeare and His Jacobean ContemporariesUniversity of Toronto Press, 1988 - 227 páginas |
Dentro del libro
Resultados 1-3 de 63
Página 109
... speech is even more artificial on second reading than it appears on first reading , because the ' pretty sad - talking boy , ' as it turns out , is not a boy at all but rather Dion's daughter , and her story is a complete fabrication ...
... speech is even more artificial on second reading than it appears on first reading , because the ' pretty sad - talking boy , ' as it turns out , is not a boy at all but rather Dion's daughter , and her story is a complete fabrication ...
Página 159
... speeches . Andrugio's speech in III.i of part 1 , ' Fortune's brow hath frown'd ... ' ( line 52ff ) , also seems to be in the style of the old tragedy . ( And , since Antonio is not drowned as Andrugio supposes , his speech represents a ...
... speeches . Andrugio's speech in III.i of part 1 , ' Fortune's brow hath frown'd ... ' ( line 52ff ) , also seems to be in the style of the old tragedy . ( And , since Antonio is not drowned as Andrugio supposes , his speech represents a ...
Página 182
... speech in v.ii is a good example : One of the prettiest touches of all , and that which angled for mine eyes ... speech gets in the way of what he is trying to say , just as the entire narrative scene gets in the way of our direct ...
... speech in v.ii is a good example : One of the prettiest touches of all , and that which angled for mine eyes ... speech gets in the way of what he is trying to say , just as the entire narrative scene gets in the way of our direct ...
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