Shakespearean Criticism: Excerpts from the Criticism of William Shakespeare's Plays and Poetry, from the First Published Appraisals to Current Evaluations, Volum 40Gale Research Company, 1984 |
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Resultats 1 - 3 de 91.
Pàgina 13
... women and compare themselves to women without the anguish such imagery usually gives the tragic heroes . In general , the cross - gender imagery in the romances emphasizes the primacy of generativity over aggres- sion . Imogen's ...
... women and compare themselves to women without the anguish such imagery usually gives the tragic heroes . In general , the cross - gender imagery in the romances emphasizes the primacy of generativity over aggres- sion . Imogen's ...
Pàgina 34
... women that only through violence will they achieve manhood . Their manhood , displayed in the uncompro- misingly masculine form of bloodshed , is not their own , not self - determined nor self - validated , but infused into them by women ...
... women that only through violence will they achieve manhood . Their manhood , displayed in the uncompro- misingly masculine form of bloodshed , is not their own , not self - determined nor self - validated , but infused into them by women ...
Pàgina 56
... woman in disguise is wooed by a woman she reverts to boyhood while protecting her woman- hood . Rosalind is masculine to Phoebe's femininity- scornful , down - to - earth , impatient at the follies of women . Viola is robust in her ...
... woman in disguise is wooed by a woman she reverts to boyhood while protecting her woman- hood . Rosalind is masculine to Phoebe's femininity- scornful , down - to - earth , impatient at the follies of women . Viola is robust in her ...
Continguts
Gender Identity | 1 |
The Merchant of Venice | 105 |
Sonnets | 220 |
Copyright | |
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Altres edicions - Mostra-ho tot
Shakespearean Criticism: Excerpts from the Criticism of William ..., Volum 28 Visualització de fragments - 1984 |
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action actor Antonio appears argues audience Bassanio become begins bond calls castration characters choice Christian circumcision claims Cleopatra comedies comic conventional course critics daughter death describes desire discussion disguise Elizabethan essay example exchange father fear feel female feminine figure final flesh gender give hand heart hero heroines human husband identity interest John kind Lady less lines live London look lover Macbeth male marriage masculine means Merchant of Venice moral mother nature never offers person play plot poems political Portia possible present Press reading refer relations relationship rhetorical ring role Rosalind says scene seems sense sexual Shake Shakespeare Shylock social sonnets speak speech spirit stage suggests tell thing thou tion tragedy true turn University wife woman women York young