Working with ShakespeareBarnes & Noble Books, 1993 - 247 من الصفحات This book aims to increase the pleasure of studying Shakespeare, working with the plays as the craftsman-dramatist himself worked by concentrating on poetic detail and dramatic moments. The book offers an accessible nuts-and-bolts approach in steadily broadening focus: from the way lines and speeches are put together to such large concerns as genre distinctions and the representation of gender. Eleven plays are introduced in chronological order, nine of them reappearing in later chapters in order to illustrate further topics. Comparisons draw on alternative texts, subsequent adaptations and excerpts on the same subjects from works in other literary genres. Appendices to each chapter provide materials for further exercises. A linked aim is to help students form an independent relation to existing commentary. Running through the book is an evaluative history, with generous quotations, of both traditional criticism and the revolutionary approaches of recent years. Contents: Preface and acknowledgements; Introduction; Voices; Words; Speeches; Scenes; Gender, Genre and Grabbing; Notes; Bibliography; Index. |
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الصفحة 146
... mercurial ' to samples of Shakespeare's writing , especially to the development and linking of scenes.7 The task I set myself parallels one that occupied me in the previous chapter when analysing speeches from middle - to - late plays ...
... mercurial ' to samples of Shakespeare's writing , especially to the development and linking of scenes.7 The task I set myself parallels one that occupied me in the previous chapter when analysing speeches from middle - to - late plays ...
الصفحة 168
... mercurial changes in focus and style . Of those two scenes the latter is more virtuoso - like in the variations in Macbeth's mood , tone , idiom , rhythm and vocal volume . But my broader point was that , while V , ii gives the external ...
... mercurial changes in focus and style . Of those two scenes the latter is more virtuoso - like in the variations in Macbeth's mood , tone , idiom , rhythm and vocal volume . But my broader point was that , while V , ii gives the external ...
الصفحة 175
... mercurial . VI You'll recall that , at the outset of this chapter , I suggested ' mercurial ' was a safer as well as more fertile term than ' protean ' . But you'll also recall from Chapter One that Kiernan Ryan was happy to use the ...
... mercurial . VI You'll recall that , at the outset of this chapter , I suggested ' mercurial ' was a safer as well as more fertile term than ' protean ' . But you'll also recall from Chapter One that Kiernan Ryan was happy to use the ...
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Antony and Cleopatra audience Bradley Caesar called Capulet chapter character Claudius Claudius's Coleridge contrast Cordelia Coriolanus couplet crown D. H. Lawrence death dialogue Dollimore drama Eagleton earlier Eliot essay F. R. Leavis Falstaff father feminist criticism Ferguson Fool give Goneril Granville-Barker Greenblatt Hamlet hath Hawkes hear heart heaven Henry heteroglossia Holderness Hotspur human ibid Johnson Kent King Lear Laertes language Lear's Leontes Leontes's lines look lord Macbeth Mahood McLuskie meaning mercurial metaphor mind novel passage pattern phrase play play's pleasure poetic political pronouns Quarto Queene question quoted rhetoric rhyme Richard Richard II Romeo and Juliet Ryan scene Shakespeare Signet soliloquy speak speech stage stress structure talk tell Tennenhouse thee thou Tolstoy's tragedies turn unconformities verbs verse voice Weimann whole Wilson Knight Winter's Tale wordplay words