Passion Made Public: Elizabethan Lyric, Gender, and PerformanceUniversity of Illinois Press, 1995 - 279 páginas |
No interior do livro
Resultados 1-5 de 28
Página 8
... regard for the rich complexity of amatory lyric and its social context . While it is true , as Nancy Vickers observes , that much erotic praise is " the product of men talking to men about women , " " a legacy shaped predominantly by ...
... regard for the rich complexity of amatory lyric and its social context . While it is true , as Nancy Vickers observes , that much erotic praise is " the product of men talking to men about women , " " a legacy shaped predominantly by ...
Página 11
... regards their own works in performance . Passion Made Public thus looks care- fully at the texts of men who can gender subjectivity as exclusively male only in their imaginations ( if there ) , and explores those texts as partial signs ...
... regards their own works in performance . Passion Made Public thus looks care- fully at the texts of men who can gender subjectivity as exclusively male only in their imaginations ( if there ) , and explores those texts as partial signs ...
Página 15
... regards the object of " unaffected " aspersion in Sir Thomas Wyatt's " Blame not my lute ” to be an " affected lady , " although he notes elsewhere that the lover might seem arro- gant from the lady's perspective ( 10-11 ) . The moral ...
... regards the object of " unaffected " aspersion in Sir Thomas Wyatt's " Blame not my lute ” to be an " affected lady , " although he notes elsewhere that the lover might seem arro- gant from the lady's perspective ( 10-11 ) . The moral ...
Página 27
... regard his death as a selfish indul- gence of passion ( see Dickey , Peterson , Seward , and R. Berry ) . Such readings are consistent with certain moral and religious orthodoxies of Shakespeare's era but not , to my ear , with the ...
... regard his death as a selfish indul- gence of passion ( see Dickey , Peterson , Seward , and R. Berry ) . Such readings are consistent with certain moral and religious orthodoxies of Shakespeare's era but not , to my ear , with the ...
Página 45
O conteúdo desta página está restrito.
O conteúdo desta página está restrito.
Índice
Elizabethan Contexts | 33 |
Elizabeths Watchful Eye and George Peeks Court Drama Female Power and the Lyric of Praise | 85 |
Unhappy Dido Marlowes Lyric Strains | 120 |
Shakespeares Laboring Lovers Lyric and Its Discontents | 167 |
Legacy | 214 |
251 | |
267 | |
Palavras e frases frequentes
Aeneas Aeneas's aesthetic aristocratic Arraignment of Paris artistic audience authority beauty Berowne Berowne's characters Christopher Marlowe Colin comic complex context courtiers courtly love courtly lyricism create critical cultural desire Diana Dido Dido's discourse earthly echo Elizabeth Elizabethan Elizabethan lyrical emphasizes English erotic female power female sovereignty feminine fiction figure Gascoigne Gascoigne's gender George Gascoigne George Peele goddess ideal Kenilworth ladies language literary lords love lyrics Love's Labour's Lost lovers lyric poetry lyrical drama lyricist male Marlowe Marlowe's lyric marriage masculine Midsummer Night's Dream moral narrative Neoplatonic obviously Oenone onstage pageant passion Peele Peele's performance perspective Petrarchan Petrarchan sonnets Petrarchism play's playwright poem poet poetic political praise queen representation rhetoric role romantic Romeo and Juliet Rosaline satiric scene sexual Shakespeare's Sidney Sidney's social song sonnet sovereign speaker speech Spenser stage style Tamburlaine temporal tensions theatrical thou tion tradition tropes verse vision voice woman women words
Passagens conhecidas
Página 5 - But, soft! what light through yonder window breaks! It is the east, and Juliet is the sun ! — Arise, fair sun, and kill the envious moon, Who is already sick and pale with grief, That thou her maid art far more fair than she...
Página 21 - O western wind, when wilt thou blow, That the small rain down can rain? Christ, that my love were in my arms, And I in my bed again!
Página 1 - Good pilgrim, you do wrong your hand too much, Which mannerly devotion shows in this ; For saints have hands that pilgrims' hands do touch, And palm to palm is holy palmers
Referências a este livro
Sonnet Sequences and Social Distinction in Renaissance England Christopher Warley Pré-visualização limitada - 2005 |
Dwelling in Possibility: Women Poets and Critics on Poetry Yopie Prins,Maeera Shreiber Pré-visualização limitada - 1997 |