Marlowe, Shakespeare, and the Economy of Theatrical ExperienceUniversity of Pennsylvania Press, Incorporated, 29. 11. 1991 - Počet stran: 264 This study explores the structure of psychological, social and political exchanges that were negotiated between audiences and plays in Elizabethan public theatres in a period ostensibly dominated by Shakespeare, but strongly rooted in Marlowe. |
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Strana 42
... response to the scene in question , casting Leontes's generation of male anxieties about female sexuality in direct op- position to newly generated female anxieties about male violence . At this point , the audience might be as divided ...
... response to the scene in question , casting Leontes's generation of male anxieties about female sexuality in direct op- position to newly generated female anxieties about male violence . At this point , the audience might be as divided ...
Strana 164
... response . In order to meet The Jew on its own terms , we must ride the play as we ride an unfamiliar rapids , ad- justing our position to fit the contours of its protean shape and texture . Marlowe negotiates his audience's passage to ...
... response . In order to meet The Jew on its own terms , we must ride the play as we ride an unfamiliar rapids , ad- justing our position to fit the contours of its protean shape and texture . Marlowe negotiates his audience's passage to ...
Strana 208
... response , specifically , to a seminal work in the development of his theoretical preoccupations , " Transactive Criticism : Re- Creation through Identity ” ( 1976 ) . In a later article , “ How Can Dr. Johnson's Re- marks on Cordelia's ...
... response , specifically , to a seminal work in the development of his theoretical preoccupations , " Transactive Criticism : Re- Creation through Identity ” ( 1976 ) . In a later article , “ How Can Dr. Johnson's Re- marks on Cordelia's ...
Obsah
Part One The Economy of Theatrical Experience | 9 |
The Audience in Theory and Practice | 38 |
Part Two The Webs of Plays | 67 |
Autorská práva | |
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action actually advance appeal approach aspiring attempt audience audience's authority Barabas becomes believe calls capacity chapter character claim closing common consequently considered constitutes construction contemporary context course critical cultural defenses demonstrate designed desire dramatic Edward effects Elizabethan engagement established example expression fact fantasy feel Gaveston ghost give ground hand Henry identify ideology imaginative intentions interests interpretive Jack Straw kind king largely least less Lord Macbeth manner Marlowe Marlowe's material means mind moral nature normative notes observes offer operates opposed performance play play's playgoers pleasure political position possibility present privileged provides psychic psychological question range reading regarding represented resistance respect response Richard role scene seems sense serve Shakespeare shared social speak specific speech stage status structure suggests Tamburlaine theater theatrical experience Timon tion writes