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 209
... novel ' is not at all as familiar and ' transparent ' a ' testament to the modern self ' as he , datedly , thinks ( Tennen- house , 1986 : 13 ) . This is largely because ' the Novel ' is an abstraction and all that students are ...
... novel ' is not at all as familiar and ' transparent ' a ' testament to the modern self ' as he , datedly , thinks ( Tennen- house , 1986 : 13 ) . This is largely because ' the Novel ' is an abstraction and all that students are ...
الصفحة 215
... novels are consistent , can't we apply equally to Tolstoy's novel Bayley's words about Shakespeare's play ? - ' we never know where we are ' in Anna Karenin , nor indeed do the characters themselves . At the end of Part One they all go ...
... novels are consistent , can't we apply equally to Tolstoy's novel Bayley's words about Shakespeare's play ? - ' we never know where we are ' in Anna Karenin , nor indeed do the characters themselves . At the end of Part One they all go ...
الصفحة 216
... novel to match the moment when Lear asks ' Who is it can tell me who I am ? ' and the Fool replies ' Lear's shadow ' . It's essential to the effect of this novel that it contains those shocks and transformations as well as that element ...
... novel to match the moment when Lear asks ' Who is it can tell me who I am ? ' and the Fool replies ' Lear's shadow ' . It's essential to the effect of this novel that it contains those shocks and transformations as well as that element ...
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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