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 v
... Identity Introduction Contents Preface vii Acknowledgments ix 1 1 Overviews : Gender in Shakespeare's Plays Feminine Identity Masculine Identity Androgyny : Crossdressing and Disguise Gender and Genre Further Reading .. ... 15 .... 33 ...
... Identity Introduction Contents Preface vii Acknowledgments ix 1 1 Overviews : Gender in Shakespeare's Plays Feminine Identity Masculine Identity Androgyny : Crossdressing and Disguise Gender and Genre Further Reading .. ... 15 .... 33 ...
Halaman 34
... identity , but the polarized definitions of sexual identity held by his culture . Furthermore , through their rival- ries , Coriolanus and Macbeth reenact the basic am- bivalence of their sexual identities ; their efforts to surpass and ...
... identity , but the polarized definitions of sexual identity held by his culture . Furthermore , through their rival- ries , Coriolanus and Macbeth reenact the basic am- bivalence of their sexual identities ; their efforts to surpass and ...
Halaman 90
... identity and a female ' double - voiced ' discourse " -the latter implying that the feminine simultaneously adopts and derides the conven- tions of a dominant male culture . ] Does Shakespeare's preoccupation , especially in the ...
... identity and a female ' double - voiced ' discourse " -the latter implying that the feminine simultaneously adopts and derides the conven- tions of a dominant male culture . ] Does Shakespeare's preoccupation , especially in the ...
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