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 98
... speech marked as soliloquy , and the reflexivity of address in speech acts of any kind . What does it mean for a fictional speaker to address a the- ater audience ? Can a speaker who performs for and before others be shown to address ...
... speech marked as soliloquy , and the reflexivity of address in speech acts of any kind . What does it mean for a fictional speaker to address a the- ater audience ? Can a speaker who performs for and before others be shown to address ...
Page 102
... speech community . Consider , for example , the many occurrences of horse in 1 Henry IV and its multifunctional capacities as an epithet ( the matter of jokes and put - downs ) , a referen- tial sign ( means of transportation , bearer ...
... speech community . Consider , for example , the many occurrences of horse in 1 Henry IV and its multifunctional capacities as an epithet ( the matter of jokes and put - downs ) , a referen- tial sign ( means of transportation , bearer ...
Page 137
... speech , and produces a very different speaker and mode of speech . The Bastard , in describing the operations of his " new- made honour , " describes socially - dependent linguistic practices in ways that can be discussed further in ...
... speech , and produces a very different speaker and mode of speech . The Bastard , in describing the operations of his " new- made honour , " describes socially - dependent linguistic practices in ways that can be discussed further in ...
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