Shakespearean Criticism: Excerpts from the Criticism of William Shakespeare's Plays and Poetry, from the First Published Appraisals to Current Evaluations, Band 28Gale Research Company, 1984 |
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Seite 66
... audience . Here , the primary effect is not mocking laughter ; indeed , nothing in the scene grows out of that dimension of the comic experience that involves our superiority as audience . This is a kind of participatory comedy in which ...
... audience . Here , the primary effect is not mocking laughter ; indeed , nothing in the scene grows out of that dimension of the comic experience that involves our superiority as audience . This is a kind of participatory comedy in which ...
Seite 325
... audience's subliminal mind to the received meaning of the play . Generally speaking , what a play means is primarily con- ditioned by how the audience logically makes out the whole sequence of incidents and situations incorporated in ...
... audience's subliminal mind to the received meaning of the play . Generally speaking , what a play means is primarily con- ditioned by how the audience logically makes out the whole sequence of incidents and situations incorporated in ...
Seite 326
... audience , Cordelia becomes a being whose existence is felt the more intensely for her nonexistence on the stage and whose coming is desired the more earnestly for her slowness in coming . The result is that the audience half ...
... audience , Cordelia becomes a being whose existence is felt the more intensely for her nonexistence on the stage and whose coming is desired the more earnestly for her slowness in coming . The result is that the audience half ...
Inhalt
Texts and Revels in Twelfth Night | 13 |
Lynda E Boose The Taming of the Shrew Good Husbandry and Enclosure | 21 |
Juliet Dusinberre As Who Liked It? | 31 |
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