Shakespeare's Changing Use of Psychological Reference in His ComediesStanford University, 1978 - Počet stran: 504 |
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Strana 57
... contrasts are established and reinforced in part by reference to generally accepted psychological assumptions of the day , but faculty psychology is not used in any of these plays as a sophisticated instrument for the analysis of a ...
... contrasts are established and reinforced in part by reference to generally accepted psychological assumptions of the day , but faculty psychology is not used in any of these plays as a sophisticated instrument for the analysis of a ...
Strana 59
... contrasts with romantic tales which end with the promise of an enduring happiness . Because he relies upon such contrasts and places little or no emphasis upon problems of moral choice , the plays must be understood in terms of these ...
... contrasts with romantic tales which end with the promise of an enduring happiness . Because he relies upon such contrasts and places little or no emphasis upon problems of moral choice , the plays must be understood in terms of these ...
Strana 77
... contrasts , and those contrasts required constant beliefs and emotions rather than charac- ter development . In Much Ado About Nothing and As You Like It , Shakespeare was even less interested in establishing adequate motivation for or ...
... contrasts , and those contrasts required constant beliefs and emotions rather than charac- ter development . In Much Ado About Nothing and As You Like It , Shakespeare was even less interested in establishing adequate motivation for or ...
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accept action affections All's allow Anatomy of Melancholy Angelo Antonio appears argues become behavior believes Bertram blood body characters choice Christian classical Claudio comedy comic complicated confusion contrasts create critical describes desires discussion dramatic Duke earlier Elizabethan error ethical evil explain faculty fall final golden happiness hath heart Helena honor human humour imagination interest interpretive jealousy judgment justice King knowledge language later Leontes less lost lovers man's Measure Merchant of Venice mercy moral motive Narrative nature never Night offers Olivia Orsino parallels passion pastoral Plautus play plot presented Press problem promise proper Proteus psychology qualities rational reason recognizes reference renaissance repentance role romance scene sense Shakespeare Shylock similar sins soul story structure suggest Tale things thou true truth Twelfth types University Viola virtue warns weakness wife wisdom