Shakespearean CriticismRalph Berry, Graham Bradshaw, William C. Carroll Presents literary criticism on the plays and poetry of Shakespeare. Critical essays are selected from leading sources, including journals, magazines, books, reviews, diaries, newspapers, pamphlets, and scholarly papers. Includes commentary by Shakespeare's contemporaries as well as a full range of views from later centuries, with an emphasis on contemporary analysis. Includes aesthetic criticism, textual criticism, and criticism of Shakespeare in performance. |
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Page 60
... claims they choose to ignore , then contradict their initial claims . Newman leaves Shylock out because he has somehow enabled readings that fail to account for the play's women , but her reference to other " possibilities " suggests ...
... claims they choose to ignore , then contradict their initial claims . Newman leaves Shylock out because he has somehow enabled readings that fail to account for the play's women , but her reference to other " possibilities " suggests ...
Page 135
... claims Richard as his father his claim to the land evaporates - which further demonstrates that play's identification of position with blood . From the moment Philip asserts that his blood is Plantagenet , not Falconbridge , he loses ...
... claims Richard as his father his claim to the land evaporates - which further demonstrates that play's identification of position with blood . From the moment Philip asserts that his blood is Plantagenet , not Falconbridge , he loses ...
Page 268
... claims to power over Rome . For one of them to possess Lavinia is for that family to display power over the rest - nothing more nor less than that . " 39 Because Lavinia's body acts as an instrument of political power , the two ...
... claims to power over Rome . For one of them to possess Lavinia is for that family to display power over the rest - nothing more nor less than that . " 39 Because Lavinia's body acts as an instrument of political power , the two ...
Contents
Representation and Reformation in Measure for Measure | 14 |
Sidney Homann What Do I Do Now? Directing A Midsummer Nights Dream | 23 |
Lisa Hopkins Marriage as Comic Closure | 32 |
Copyright | |
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actor Antony argues audience authority Bastard becomes Benedick body Caesar Chalmers character Christian claims Clarissa Cleopatra comedy comic complaint conventional Cordelia Coriolanus critics cultural death desire drama early modern edition Elizabeth Elizabethan England English erotic essay fact Falstaff father female figure Ganymede gender Hamlet Henry Henry VI Hippolyta homosexual identity Irving's Jessica Jewish Jews Joan John King King Lear language Lear Leontes lines London Lord lover Lover's Complaint Lucrece Macbeth magic male Margaret Marranos marriage Measure for Measure ment Merchant of Venice moral Oldcastle Ophelia performance Pericles Petrarchan play's poems poet political Polixenes Prince Protestant Queen reading reference reformation relationship Renaissance representation role scene seems sense sexual Shake Shakespeare Shylock social sodomy sonnet 20 sonnets speare's speech stage suggests theater theatrical thee Theseus thou tion Titus Andronicus tragedy University Press Winter's Tale woman women words York