A Midsummer Night's Dream: Critical EssaysDorothea Kehler Routledge, 06/12/2012 - 506 páginas This volume traces the modern critical and performance history of this play, one of Shakespeare's most-loved and most-performed comedies. The essay focus on such modern concerns as feminism, deconstruction, textual theory, and queer theory. |
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Página 7
... Athenian lovers, and regarded the entire play as a source of delight. An important English literary and theater critic, William Hazlitt (1817), liked the play no less but found that “when acted, [A Midsummer Night's Dream] is converted ...
... Athenian lovers, and regarded the entire play as a source of delight. An important English literary and theater critic, William Hazlitt (1817), liked the play no less but found that “when acted, [A Midsummer Night's Dream] is converted ...
Página 16
... Athens, describes conflicts over both the naming of children and women's political power. Since these accounts resonate in Oberon's and Titania's quarrel over possession of the changeling boy, Freake concludes that the Theseus myth ...
... Athens, describes conflicts over both the naming of children and women's political power. Since these accounts resonate in Oberon's and Titania's quarrel over possession of the changeling boy, Freake concludes that the Theseus myth ...
Página 17
... Athens . . . the best description of England that he or any one else ever wrote.” Not only is Theseus “an English squire” but so, too, are the fairies, and of course “[t]he mechanics are English mechanics, talking to each other with the ...
... Athens . . . the best description of England that he or any one else ever wrote.” Not only is Theseus “an English squire” but so, too, are the fairies, and of course “[t]he mechanics are English mechanics, talking to each other with the ...
Página 19
... Athens and the forest, the one societal, the other natural, a binary opposition reproduced in the language. The interlude's styles parody “the very threads out of which the language of the play has been woven” (390). Larry S. Champion ...
... Athens and the forest, the one societal, the other natural, a binary opposition reproduced in the language. The interlude's styles parody “the very threads out of which the language of the play has been woven” (390). Larry S. Champion ...
Página 20
... Athens, the inner circle of acts 2 and 4—the forest scenes. The central scene is 3.1, bringing Athens and the forest together in the love of Titania for Bottom. In “Comedy, Orality, and Duplicity: A Midsummer Night 's Dream and Twelfth ...
... Athens, the inner circle of acts 2 and 4—the forest scenes. The central scene is 3.1, bringing Athens and the forest together in the love of Titania for Bottom. In “Comedy, Orality, and Duplicity: A Midsummer Night 's Dream and Twelfth ...
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actors allusion artisans Athenian Athens audience Bottom Brook changeling changeling boy characters chronotope Ciulei comic conflict court critics cultural define Demetrius desire director discourse disfigure distortion dramatic Duke Egeus Elizabethan English erotic essay fairies feminine festive figure final find first flower Freud gender hath Helena Hermia Hippolyta hypallage ideology imagination influence interpretation Kott literary London lovers Lysander Lysander’s male marriage McClinton mechanicals metaphor Midsummer Night Midsummer Night's Dream mislined Montrose moon myth Night s Dream Oberon patriarchal performance perspective Peter Peter Brook play’s plot poet poetic political production Puck Puck’s Pyramus and Thisbe queen Quince reading reflects relationship Renaissance representation represented rhetoric role romantic scene sense sexual Shakespeare Shakespeare’s plays Shakespearean comedy significant social specific speech stage story structure suggests textual theatre theatrical theory Theseus Theseus and Hippolyta Theseus’s Titania traditional translation University Press vision wedding woman women York