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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... , is integral to the audience as well as to the playwright; the one takes appearance—a dream of sorts—for reality, the other creates a reality A Midsummer Night's Dream: A Bibliographic Survey of the Criticism: Dorothea Kehler.
... , is integral to the audience as well as to the playwright; the one takes appearance—a dream of sorts—for reality, the other creates a reality A Midsummer Night's Dream: A Bibliographic Survey of the Criticism: Dorothea Kehler.
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... audience's imagination does Theseus speak for Shakespeare. Henry A. Clapp (1885) returned to problems of duration (loss of a day), finding a solution “in the nature of the play, whose characters, even when clothed with human flesh and ...
... audience's imagination does Theseus speak for Shakespeare. Henry A. Clapp (1885) returned to problems of duration (loss of a day), finding a solution “in the nature of the play, whose characters, even when clothed with human flesh and ...
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... audience's. Although Hermia and Helena, unlike the young men, sense something uncanny in their situation, only Hippolyta comes close to sharing the spectators' awareness. Their perception of Oberon's benevolence towards the lovers ...
... audience's. Although Hermia and Helena, unlike the young men, sense something uncanny in their situation, only Hippolyta comes close to sharing the spectators' awareness. Their perception of Oberon's benevolence towards the lovers ...
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... audience accustomed to realistic theater, he observes that meter and tone shifts are largely responsible for characterization. Mark Van Doren (1939), whose chapter on Dream is reprinted in this volume, provides an appealing introduction ...
... audience accustomed to realistic theater, he observes that meter and tone shifts are largely responsible for characterization. Mark Van Doren (1939), whose chapter on Dream is reprinted in this volume, provides an appealing introduction ...
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... audience's sense of the play as “lyric romantic comedy” devoid of the “shadow of death or danger” (133). The variety of styles in Dream, which the eighteenth-century commentator Francis Gentleman lamented, is commendable in the ...
... audience's sense of the play as “lyric romantic comedy” devoid of the “shadow of death or danger” (133). The variety of styles in Dream, which the eighteenth-century commentator Francis Gentleman lamented, is commendable in the ...
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