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 6
... Perspective of The Tempest JAMES P. DRISCOLL 154 Telling the Magician from the Magic in The Tempest BARBARA L. ESTRIN 170 Notes on Contributors ELIZABETH TRUAX : Teaches at Chapman College 6 SHAKESPEARE : CONTEMPORARY CRITICAL APPROACHES.
... Perspective of The Tempest JAMES P. DRISCOLL 154 Telling the Magician from the Magic in The Tempest BARBARA L. ESTRIN 170 Notes on Contributors ELIZABETH TRUAX : Teaches at Chapman College 6 SHAKESPEARE : CONTEMPORARY CRITICAL APPROACHES.
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... perspective : at the same time that they examine features of Shakespeare's art , they also self - reflexively examine their own theoretical adequacy as ways of viewing that art . For the long delay in the publication of this issue , the ...
... perspective : at the same time that they examine features of Shakespeare's art , they also self - reflexively examine their own theoretical adequacy as ways of viewing that art . For the long delay in the publication of this issue , the ...
Página 14
... perspective as would be the case in a Renaissance work . 6 But Colvin's argument for a medieval rendition of this imagined painting does not preclude Renaissance interpretation that can be applied just as admirably , if not more ...
... perspective as would be the case in a Renaissance work . 6 But Colvin's argument for a medieval rendition of this imagined painting does not preclude Renaissance interpretation that can be applied just as admirably , if not more ...
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... perspective technique , but rather a characteristic of sixteenth - century Man- nerist style , which emphasized distorted figures in strange postures . Finally , Colvin admits that the expressive qualities that Shakespeare attributes to ...
... perspective technique , but rather a characteristic of sixteenth - century Man- nerist style , which emphasized distorted figures in strange postures . Finally , Colvin admits that the expressive qualities that Shakespeare attributes to ...
Página 16
... perspective , distortion , tension , and violent action . Perhaps Shakespeare molded portions of these engravings into a monumental painting of the sack of Troy scene for Lucrece to survey . Among the engravings and etchings executed by ...
... perspective , distortion , tension , and violent action . Perhaps Shakespeare molded portions of these engravings into a monumental painting of the sack of Troy scene for Lucrece to survey . Among the engravings and etchings executed by ...
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