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 97
... play , including Rosalind's invocation of magic , and the play's metadramatic " Epilogue . ” For all its self - conscious artfulness , its impositions and nuances of style , a part of this play remains beyond man's control and is ...
... play , including Rosalind's invocation of magic , and the play's metadramatic " Epilogue . ” For all its self - conscious artfulness , its impositions and nuances of style , a part of this play remains beyond man's control and is ...
Halaman 105
... play - such as the issue of gender identity and the language of economics and exchange that permeates the play . By the end of the play , the Jewish money - lender Shy- lock has been stripped of his possessions and the right to practice ...
... play - such as the issue of gender identity and the language of economics and exchange that permeates the play . By the end of the play , the Jewish money - lender Shy- lock has been stripped of his possessions and the right to practice ...
Halaman 127
... play from an ideological standpoint and examines how several varying ideological discourses inform the play's is- sues and themes . An early version of this essay was presented in 1979 to the Marxist Literary Group at Yale . ] 1 Nearly ...
... play from an ideological standpoint and examines how several varying ideological discourses inform the play's is- sues and themes . An early version of this essay was presented in 1979 to the Marxist Literary Group at Yale . ] 1 Nearly ...
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