Shakespearean CriticismGale, 2004 - 384 Seiten This detailed series provides comprehensive coverage of critical interpretations of the plays of Shakespeare. Volumes one through ten present critical overviews of each play and feature criticism from the 17th century to the present. Volumes 11-26 focus on the history of Shakespeare's plays on the stage and in important film adaptations. Volumes 27-56 focus on criticism published after 1960 and provide readers with thematic approaches to Shakespeare's works. Starting with Vol. 57 the series provides general criticism published since 1990 and historical criticism not featured in previous volumes on four to five plays or works per volume. Beginning with Vol. 60, the series replaced its annual compilation of essays representing the year's most noteworthy Shakespearean scholarship with topic entries, comprised of essays that analyze various topics or themes found Shakespeare's works. Approximately 90-95% of critical essays are full text. Each volume includes a cumulative character index, a topic index and a topic index arranged by play title. |
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Seite 211
... audience , however , can capture the full resonance of the Pyramus and Thisby play . When Theseus dismisses the actors after the Bergo- mask , and the members of the stage audience depart to their chambers , A Midsummer Night's Dream ...
... audience , however , can capture the full resonance of the Pyramus and Thisby play . When Theseus dismisses the actors after the Bergo- mask , and the members of the stage audience depart to their chambers , A Midsummer Night's Dream ...
Seite 234
... audience to think of the actor as something other than a human presence alone by encoding his body , through the ... audience's derisive laughter and wisecracks . The audience laughs at Snout in his role as a result of what they read as ...
... audience to think of the actor as something other than a human presence alone by encoding his body , through the ... audience's derisive laughter and wisecracks . The audience laughs at Snout in his role as a result of what they read as ...
Seite 370
... audience interpretation Julius Caesar 48 : 240 audience perception The Comedy of Errors 1 : 37 , 50 , 56 ; 19 : 54 ; 34 : 258 ; 54 : 136 , 144 ; 77 : 2 , 44 King Lear 19 : 295 ; 28 : 325 ; 61 : 176 ; 72 : 228 , 234 Richard II 24 : 414 ...
... audience interpretation Julius Caesar 48 : 240 audience perception The Comedy of Errors 1 : 37 , 50 , 56 ; 19 : 54 ; 34 : 258 ; 54 : 136 , 144 ; 77 : 2 , 44 King Lear 19 : 295 ; 28 : 325 ; 61 : 176 ; 72 : 228 , 234 Richard II 24 : 414 ...
Inhalt
Hamlet | 1 |
Character Studies | 14 |
Production Reviews | 21 |
Urheberrecht | |
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