作者: 大范圍流行 時間: 2025-3-21 21:26 作者: 挑剔小責 時間: 2025-3-22 02:22 作者: 頭盔 時間: 2025-3-22 05:10
Grundlagen der Strategietransformation,d (cf. Marlowe’s .) define the author’s aims and intentions (cf. Jonson’s .) or apologize for the deficiencies of the coming performance (cf. Lyly’s .). The effect of such introductory speeches is to heighten the spectator’s awareness of the theatrical representation as artifice.作者: Harass 時間: 2025-3-22 11:38
Plays within Plays,d (cf. Marlowe’s .) define the author’s aims and intentions (cf. Jonson’s .) or apologize for the deficiencies of the coming performance (cf. Lyly’s .). The effect of such introductory speeches is to heighten the spectator’s awareness of the theatrical representation as artifice.作者: STERN 時間: 2025-3-22 16:28 作者: STERN 時間: 2025-3-22 19:07
Martin Endre?,Lukas Clemens,Benjamin Ramppants favour long sentences and polysyllabic words, while academics deal in abstract ideas. When the dialogue assigned to such characters is analysed, however, it quickly becomes apparent how remote their language is from day-to-day usage.作者: CHECK 時間: 2025-3-22 23:08
Strategisches Frühwarninformationssystemplay to play. The secondary actions may duplicate the events of the main plot, universalizing the issues involved, or they may contrast with the principal action to allow the main plot’s concerns to be viewed from a different perspective. In every instance, however, the subsidiary actions contribute作者: 審問 時間: 2025-3-23 04:24
Strategiewerkzeuge aus der Praxislatively late stage. The earlier chapters of this book have been designed to demonstrate that the meaning of a Shakespearian play does not derive exclusively from the progress of its central figures; it is also a product of the kind of dramatic language that is employed, the disposition of the chara作者: Coronary-Spasm 時間: 2025-3-23 06:59
Strategiewerkzeuge aus der Praxis, as noted in Chapter 5, to the twentieth-century sensibility, fostering a character-orientated approach to the plays, and affording the supreme illustration, for many lovers of Shakespeare, of the dramatist’s continuing relevance or modernity.作者: Suppository 時間: 2025-3-23 09:43
Klassische Wertkettenanalyse (Supply Chain)on of the theatre audience is drawn to the artificiality of the stage spectacle varies considerably from play to play. At one extreme Shakespeare may create the illusion of simply presenting the spectator with a ‘slice of life’, ungoverned by artistic intervention. In the Eastcheap scenes of ., for 作者: 粘 時間: 2025-3-23 17:36 作者: COMA 時間: 2025-3-23 19:53 作者: Myocyte 時間: 2025-3-23 23:16 作者: Favorable 時間: 2025-3-24 04:14
The Treatment of Character,latively late stage. The earlier chapters of this book have been designed to demonstrate that the meaning of a Shakespearian play does not derive exclusively from the progress of its central figures; it is also a product of the kind of dramatic language that is employed, the disposition of the chara作者: 壓倒 時間: 2025-3-24 09:52
The Use of the Soliloquy,, as noted in Chapter 5, to the twentieth-century sensibility, fostering a character-orientated approach to the plays, and affording the supreme illustration, for many lovers of Shakespeare, of the dramatist’s continuing relevance or modernity.作者: 滑動 時間: 2025-3-24 12:06 作者: audiologist 時間: 2025-3-24 16:09 作者: Mnemonics 時間: 2025-3-24 22:09
Martin Endre?,Lukas Clemens,Benjamin Rampply composed — blank verse. Accustomed, through television, to a kind of dramatic language which appears to reflect contemporary speech, the twentieth-century reader finds it difficult to adjust to an art form which appears to have more in common with ‘poetry’ than with the art of the theatre. But, i作者: LASH 時間: 2025-3-25 00:40 作者: 有權威 時間: 2025-3-25 04:50 作者: 四溢 時間: 2025-3-25 07:42
Grundlagen der Strategietransformation,order of reality, as the characters upon whom the attention of the theatre audience is ultimately to focus. Egeon, in ., is the father of the twins upon whose resemblance the central action depends; Kent, Edmund and Gloucester play leading roles in Lear’s tragedy; while the soldiers on the walls of 作者: 帽子 時間: 2025-3-25 15:09 作者: 博識 時間: 2025-3-25 16:59 作者: 白楊 時間: 2025-3-25 20:15 作者: 個阿姨勾引你 時間: 2025-3-26 00:33 作者: 牲畜欄 時間: 2025-3-26 06:37 作者: 重畫只能放棄 時間: 2025-3-26 10:39 作者: Default 時間: 2025-3-26 16:02 作者: MONY 時間: 2025-3-26 19:10 作者: rectocele 時間: 2025-3-26 23:32 作者: Infelicity 時間: 2025-3-27 02:53 作者: Atmosphere 時間: 2025-3-27 07:12 作者: 約會 時間: 2025-3-27 12:24 作者: Ostrich 時間: 2025-3-27 14:25
,Shakespeare’s Expositions, attention of the spectators — a much more difficult task in a Renaissance playhouse than a modern one, where no dipping of the lights helped to create an expectant hush prior to the entrance of the characters — and they must acquaint the members of the audience with any information necessary for an作者: LAIR 時間: 2025-3-27 20:49
Plays within Plays,order of reality, as the characters upon whom the attention of the theatre audience is ultimately to focus. Egeon, in ., is the father of the twins upon whose resemblance the central action depends; Kent, Edmund and Gloucester play leading roles in Lear’s tragedy; while the soldiers on the walls of 作者: Cardioplegia 時間: 2025-3-27 22:35 作者: 來這真柔軟 時間: 2025-3-28 03:18
The Treatment of Character,n being the subject of Chapter 1. Throughout the history of Shakespearian criticism it has been upon the dramatist’s ability to create vital and convincing human beings that attention has principally been focused, and it is the characters of Shakespeare’s plays — Hamlet, Falstaff, Lady Macbeth — rat作者: 下垂 時間: 2025-3-28 06:35 作者: 明智的人 時間: 2025-3-28 14:06 作者: 小官 時間: 2025-3-28 15:49
,Conclusion: Discovering Shakespeare’s Meaning,ing. The significance of a Shakespearian play, as this book has attempted to show, is the sum of its parts, and derives from a complex pattern of contrast and analogy that emerges as the drama unfolds. Relationships are set up between linguistic modes, stage spectacles, strands of action, groups of 作者: debase 時間: 2025-3-28 19:36
10樓作者: 贊成你 時間: 2025-3-28 23:55
10樓作者: 熱情贊揚 時間: 2025-3-29 05:44
10樓作者: prolate 時間: 2025-3-29 10:11
10樓
