Shakespearean Criticism: Excerpts from the Criticism of William Shakespeare's Plays and Poetry, from the First Published Appraisals to Current Evaluations, Volume 40Gale Research Company, 1984 |
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Halaman 139
... discussion of the utopian dimension of the play , but it is omitted here for the sake of space . The most thorough and careful discussion of Marx's use of " ideology , " which defends it from several mod- ern extensions and reductions ...
... discussion of the utopian dimension of the play , but it is omitted here for the sake of space . The most thorough and careful discussion of Marx's use of " ideology , " which defends it from several mod- ern extensions and reductions ...
Halaman 217
... discussion specifically of the “ condiments of love , " that is , the gifts given at marriage . In his recent essay on exchange in the Merchant , Lars Engle ( see note 12 above ) claims Portia's name suggests the marriage portion , a ...
... discussion specifically of the “ condiments of love , " that is , the gifts given at marriage . In his recent essay on exchange in the Merchant , Lars Engle ( see note 12 above ) claims Portia's name suggests the marriage portion , a ...
Halaman 221
... discussion of homoerotic images in the sonnets , that this imagery introduces sexual emotions in the context of the bonds that men routinely made with one another in late sixteenth - century England . He also notes that erotic images in ...
... discussion of homoerotic images in the sonnets , that this imagery introduces sexual emotions in the context of the bonds that men routinely made with one another in late sixteenth - century England . He also notes that erotic images in ...
Isi
Gender Identity | 1 |
The Merchant of Venice | 105 |
Sonnets | 220 |
Hak Cipta | |
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Shakespearean Criticism: Excerpts from the Criticism of William ..., Volume 28 Tampilan cuplikan - 1984 |
Istilah dan frasa umum
action actor Antonio appears argues audience Bassanio become begins bond calls castration characters choice Christian circumcision claims Cleopatra comedies comic conventional course critics daughter death describes desire discussion disguise Elizabethan essay example exchange father fear feel female feminine figure final flesh gender give hand heart hero heroines human husband identity interest John kind Lady less lines live London look lover Macbeth male marriage masculine means Merchant of Venice moral mother nature never offers person play plot poems political Portia possible present Press reading refer relations relationship rhetorical ring role Rosalind says scene seems sense sexual Shake Shakespeare Shylock social sonnets speak speech spirit stage suggests tell thing thou tion tragedy true turn University wife woman women York young