Shakespearean Criticism: Excerpts from the Criticism of William Shakespeare's Plays and Poetry, from the First Published Appraisals to Current Evaluations, 第 40 巻Gale Research Company, 1984 |
この書籍内から
検索結果1-3 / 46
27 ページ
... argues that the representational strategies of the playwright she calls " the patriarchal bard , " like cinematic cues , " resist feminist manipulation by denying an autonomous po- sition for the female viewer of the action . " Shake ...
... argues that the representational strategies of the playwright she calls " the patriarchal bard , " like cinematic cues , " resist feminist manipulation by denying an autonomous po- sition for the female viewer of the action . " Shake ...
106 ページ
... argues that in contrast to Shakespeare's other disguised heroines , Portia chooses to take on a male disguise herself ; she is not coerced to do so by her circumstances . Addi- tionally , Shapiro contends , by adopting the role of ...
... argues that in contrast to Shakespeare's other disguised heroines , Portia chooses to take on a male disguise herself ; she is not coerced to do so by her circumstances . Addi- tionally , Shapiro contends , by adopting the role of ...
227 ページ
... argues a case for rhetorical coordinates , as well as against them . Amo ergo sum on the one hand ; Scribo ergo sum on the other . Read as a serious poem , it argues that the " star , " love , is a necessary assumption if the world is ...
... argues a case for rhetorical coordinates , as well as against them . Amo ergo sum on the one hand ; Scribo ergo sum on the other . Read as a serious poem , it argues that the " star , " love , is a necessary assumption if the world is ...
他の版 - すべて表示
多く使われている語句
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