Shakespeare's Poetics: In relation to King LearRoutledge, 11 oct. 2013 - 232 pagini First published in 1962. |
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Pagina 1
... course , is compounded of images . It is the business of the iconographer to describe them.1 1 Thus the work of Robert B. Heilman , This Great Stage , Baton Rouge , La . , 1948 ; and Caroline Spurgeon , Shakespeare's Imagery and What It ...
... course , is compounded of images . It is the business of the iconographer to describe them.1 1 Thus the work of Robert B. Heilman , This Great Stage , Baton Rouge , La . , 1948 ; and Caroline Spurgeon , Shakespeare's Imagery and What It ...
Pagina 3
... course our images also , although , with a kind of heroic fatuity , we have sought since the late seventeenth century more and more to dispense with figurative language , have denied , at least implicitly , that we lean on it at all ...
... course our images also , although , with a kind of heroic fatuity , we have sought since the late seventeenth century more and more to dispense with figurative language , have denied , at least implicitly , that we lean on it at all ...
Pagina 9
... course , is of Hamlet . Shakespeare's stage , lacking the proscenium arch and front curtain depending from it , teases the dramatist with this problem , among others : how to get a man off , whom the plot in some drastic way has made ...
... course , is of Hamlet . Shakespeare's stage , lacking the proscenium arch and front curtain depending from it , teases the dramatist with this problem , among others : how to get a man off , whom the plot in some drastic way has made ...
Pagina 10
... course in destruction . The situation in each case is superficially the same , and crucially different in its issue . But the comment is in the juxtaposition.2 ( Shakespeare also , in 1 The same use of the convention is illustrated , if ...
... course in destruction . The situation in each case is superficially the same , and crucially different in its issue . But the comment is in the juxtaposition.2 ( Shakespeare also , in 1 The same use of the convention is illustrated , if ...
Pagina 14
Ne pare rău, conținutul acestei pagini este restricționat.
Ne pare rău, conținutul acestei pagini este restricționat.
Cuprins
1 | |
PROVIDENCE | 17 |
KIND | 30 |
FORTUNE | 46 |
ANARCHY AND ORDER | 61 |
REASON AND WILL | 85 |
SHOW AND SUBSTANCE | 103 |
REDEMPTION | 119 |
SHAKESPEARES POETICS | 138 |
WORKS CONSULTED | 168 |
175 | |
Alte ediții - Afișează-le pe toate
Shakespeare's Poetics in Relation to King Lear Russell A. Fraser Nu există previzualizare disponibilă - 1962 |
Termeni și expresii frecvente
action appears bear beginning blind body bring called century character comedy conduct convention Cordelia course Cymbeline daughter death describes discovers dramatist earth Edgar Edmund Elizabethan emblem Emblematum English error evil eyes fact fall father felt figure finds follows fool Fortune given gives gloss Gloucester Goneril grace Green grow hand hath heart Heaven Henry hero History human ignorance illustrated Italy John Kent kind King Lear Lear's learned least less lives London look Macbeth man's master means Measure metaphor mind mistaking moral murder naked nature never once Paris Plate play Providence Queen quoted reason relation Renaissance Richard Rollenhagio sense Shakespeare stage stand suffer suppose Tempest things Thomas thou tragedy tree true Truth turns understanding universe villain virtue wheel Whitney wicked wisdom