Shakespeare, Contemporary Critical ApproachesHarry Raphael Garvin, Michael Payne Bucknell University Press, 1980 - 187 páginas The study and criticism of Shakespeare has always been of major interest in the literary world but never more than in the last ten years. The essays in this volume explore Shakespeare's art that is complementary to the experience of his plays. The feelings of the essays create a sensitive atmosphere for creative study. |
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Página 13
... mind , and an exhaustive hunt has proceeded over the centuries.1 Sir Sidney Colvin writes : " There are cases , and this is one , where the particularity of the description and the insistence on technical details make it cer- tain that ...
... mind , and an exhaustive hunt has proceeded over the centuries.1 Sir Sidney Colvin writes : " There are cases , and this is one , where the particularity of the description and the insistence on technical details make it cer- tain that ...
Página 14
... mind we can feel certain that he moulded it , modified it , and so presented a rich new image that has become a work of art in its own right . Such was the habit of Renaissance artists , translators , and poets , as we see again and ...
... mind we can feel certain that he moulded it , modified it , and so presented a rich new image that has become a work of art in its own right . Such was the habit of Renaissance artists , translators , and poets , as we see again and ...
Página 15
... mind the frescoes from the Sala di Troia in the Palazzo Ducale in Mantua designed by Giulio Romano ( 1492-1546 ) , who was apparently the only Italian Renaissance artist Shakespeare knew by name ? The answer here is most probably not ...
... mind the frescoes from the Sala di Troia in the Palazzo Ducale in Mantua designed by Giulio Romano ( 1492-1546 ) , who was apparently the only Italian Renaissance artist Shakespeare knew by name ? The answer here is most probably not ...
Página 17
... mind , signal the malaise of a troubled time.16 Among the artists whom Vasari considers most distinguished in their achievement of la maniera he lists Raphael , Giorgione , Andrea del Sarto , Correggio , Parmigianino , and the " divine ...
... mind , signal the malaise of a troubled time.16 Among the artists whom Vasari considers most distinguished in their achievement of la maniera he lists Raphael , Giorgione , Andrea del Sarto , Correggio , Parmigianino , and the " divine ...
Página 21
... mind ( as we do in ours ) with the brutality of her own rape earlier in the poem . The picture she sees is described as a complex and elaborate treat- ment of the rape of Troy , rendered by an artist who achieves dramatic impact through ...
... mind ( as we do in ours ) with the brutality of her own rape earlier in the poem . The picture she sees is described as a complex and elaborate treat- ment of the rape of Troy , rendered by an artist who achieves dramatic impact through ...
Conteúdo
13 | |
Circe Venus and the Whore of Babylon | 31 |
Italian Cinquecento Art and Shakespeares Last Plays | 54 |
Shakespeare and Marxism | 85 |
Feudal and Bourgeois Concepts of Value in The Merchant of Venice | 87 |
King Lear and the Social Dimensions of Shakespearean Tragic Form 16031608 | 100 |
Interpretations of The Tempest | 113 |
Cracking the Code of The Tempest | 115 |
Contrary Comparisons in The Tempest | 126 |
Shakespeares Creation of a Fit Audience for The Tempest | 136 |
The Perspective of The Tempest | 148 |
Telling the Magician from the Magic in The Tempest | 164 |
Termos e frases comuns
aesthetic Alonso Antony and Cleopatra Antony's Aretino's Ariel aristocratic artist audience becomes Belmont bourgeois concept Caliban capitalism casket characters Circe concept of value contrary contrast created critics Cymbeline death divine dramatic emotion England English etchings evil example experience Ferdinand feudal figure Giulio Romano Gonzalo Hermione Hilliard human Ibid idea ideal imagination imitation Italian King Lear last plays Leontes live Lomazzo London Lucrece Lucrece's Macbeth magic magician Mannerist Mark Antony masque medieval Merchant of Venice metastance Mignon's mind Miranda moral nature Nicholas Hilliard Othello Oxford painter painting passion Pericles perspective picture play's pleasure plot Portia present Prince Prospero reality Renaissance role scene seems sense Shakespeare Shakespeare's play Shylock social identity society sonnets spectator spirit stance story suggests symbolic Tempest theater Timon of Athens tion traditional tragedy tragic trans transcendence transformation Troy truth University Press Vasari Venus vision visual art Winter's Tale York