A Midsummer Night's Dream: Critical EssaysDorothea Kehler Routledge, 6 dec. 2012 - 506 pagini This volume traces the modern critical and performance history of this play, one of Shakespeare's most-loved and most-performed comedies. The essay focus on such modern concerns as feminism, deconstruction, textual theory, and queer theory. |
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Pagina 8
... Oberon for humiliating Titania; accidents happen: “Oberon himself, angry as he is with the caprices of his queen, does not anticipate any such object for her charmed affections [as the weaver/ass]” (99). Hermann Ulrici (1839), like his ...
... Oberon for humiliating Titania; accidents happen: “Oberon himself, angry as he is with the caprices of his queen, does not anticipate any such object for her charmed affections [as the weaver/ass]” (99). Hermann Ulrici (1839), like his ...
Pagina 11
... Oberon's magic is simply a great symbol, typifying the sorcery of the erotic imagination” (67), that Shakespeare “early felt and divined how much wider is the domain of the unconscious than of the conscious life, and saw that our moods ...
... Oberon's magic is simply a great symbol, typifying the sorcery of the erotic imagination” (67), that Shakespeare “early felt and divined how much wider is the domain of the unconscious than of the conscious life, and saw that our moods ...
Pagina 19
... Oberon's call for music and a dance mark the harmonious reconciliation of king and queen, while hunting horns intimate harmony among the newly awakened lovers; the play ends with the fairies' song and dance in blessing. Shakespeare used ...
... Oberon's call for music and a dance mark the harmonious reconciliation of king and queen, while hunting horns intimate harmony among the newly awakened lovers; the play ends with the fairies' song and dance in blessing. Shakespeare used ...
Pagina 22
... Oberon and Titania's blank verse all contribute to the audience's sense of the play as “lyric romantic comedy” devoid of the “shadow of death or danger” (133). The variety of styles in Dream, which the eighteenth-century commentator ...
... Oberon and Titania's blank verse all contribute to the audience's sense of the play as “lyric romantic comedy” devoid of the “shadow of death or danger” (133). The variety of styles in Dream, which the eighteenth-century commentator ...
Pagina 23
... Oberon) that she claims structures Dream. Jay L. Halio (1990) argues that the seeming concors is challenged by the metaphoric language, a thesis exemplifying the skeptical interrogations of recent criticism. Christy Desmet's 1997 essay ...
... Oberon) that she claims structures Dream. Jay L. Halio (1990) argues that the seeming concors is challenged by the metaphoric language, a thesis exemplifying the skeptical interrogations of recent criticism. Christy Desmet's 1997 essay ...
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A Midsummer Night's Dream: Critical Essays Dorothea Kehler Nu există previzualizare disponibilă - 2001 |
Termeni și expresii frecvente
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