標(biāo)題: Titlebook: Revisiting The Tempest; The Capacity to Sign Silvia Bigliazzi (Professor of English Literature) Book 2014 Palgrave Macmillan, a division of [打印本頁] 作者: 添加劑 時(shí)間: 2025-3-21 17:13
書目名稱Revisiting The Tempest影響因子(影響力)
書目名稱Revisiting The Tempest影響因子(影響力)學(xué)科排名
書目名稱Revisiting The Tempest網(wǎng)絡(luò)公開度
書目名稱Revisiting The Tempest網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Revisiting The Tempest被引頻次
書目名稱Revisiting The Tempest被引頻次學(xué)科排名
書目名稱Revisiting The Tempest年度引用
書目名稱Revisiting The Tempest年度引用學(xué)科排名
書目名稱Revisiting The Tempest讀者反饋
書目名稱Revisiting The Tempest讀者反饋學(xué)科排名
作者: 強(qiáng)有力 時(shí)間: 2025-3-21 23:32
Robert Henkechende Annahmen finden sich schon implizit in einigen der in den anderen Beitr?gen dieses Buches verwendeten Konzepte. So dürfte sich eine . (insbesondere, wenn sie hinsichtlich der Orientierung gegenüber einer bestimmten sozialen Gruppe wirksam werden soll) kaum g?nzlich isoliert von der ?objektive作者: 生來 時(shí)間: 2025-3-22 03:00 作者: 摘要 時(shí)間: 2025-3-22 06:58 作者: 傳染 時(shí)間: 2025-3-22 09:24 作者: insolence 時(shí)間: 2025-3-22 16:55 作者: 使入迷 時(shí)間: 2025-3-22 17:54
Introductionnts of theatrical strain in Shakespeare’s play” (Lindley 2003: 4), among which is the strident interweaving of the spectacular and the narrative which has often been unravelled through a foregrounding of the visual potential of the play and a massive excision of the narrative parts. After all, . is 作者: 圖表證明 時(shí)間: 2025-3-22 23:11
The Jonsonian ent of Bianca’s exchange with Thorello in .: “sweetheart, come in out of the air. / .: [.] How simple and how subtle are her answers!” (1.4.182–4).. Determined to make Jonson the borrower, so that the repetitions can be accounted for as “Shakespearean phrases, floating in Jonson’s memory”, Musgrove 作者: 創(chuàng)造性 時(shí)間: 2025-3-23 03:55 作者: 幼稚 時(shí)間: 2025-3-23 06:29
Shakespeare’s Hypertextual Performances: Remediating , in Company did — with varied performance values and innovative theatrical technologies”, thus testifying to .s role as “a cultural mediator from its inception to the present” (Mason Vaughan 1–2). Each production, the scholar adds, “represents a moment in time, when cultural forces outside the theatre —作者: 連系 時(shí)間: 2025-3-23 13:25 作者: 褻瀆 時(shí)間: 2025-3-23 17:54 作者: Indelible 時(shí)間: 2025-3-23 18:58 作者: 影響 時(shí)間: 2025-3-24 02:09 作者: 細(xì)頸瓶 時(shí)間: 2025-3-24 05:54 作者: 法官 時(shí)間: 2025-3-24 09:26 作者: 騙子 時(shí)間: 2025-3-24 13:26 作者: 急急忙忙 時(shí)間: 2025-3-24 15:58 作者: deceive 時(shí)間: 2025-3-24 20:06
and Italian Improvised Theatreot comes entirely from the dramatist’s imagination, without being based on any narrative or dramatic source. It is a myth regularly perpetuated in programme notes even for the most prestigious theatre companies.. We shall show here, not for the first time, that this is simply untrue. There is a subs作者: 柔軟 時(shí)間: 2025-3-25 02:54 作者: FANG 時(shí)間: 2025-3-25 03:24 作者: 夜晚 時(shí)間: 2025-3-25 11:00 作者: Cholesterol 時(shí)間: 2025-3-25 14:53
“Dost thou hear?” On the Rhetoric of Narrative in is narrative pieces as exceedingly pompous and artificial. In his view all narration in dramatic poetry is dull by definition, “as it is unanimated and inactive, and obstructs the progress of the action” (Johnson 331). Shakespeare’s, however, was especially burdensome and aesthetically unpalatable i作者: lavish 時(shí)間: 2025-3-25 18:47
A Tempestuous Noise: on the Acoustics and Vocalics of Stormsthe Virginia Company, the enterprise chartered three years earlier by St James’s namesake King James I. The 24 July maritime disaster — by general consensus the historical inspiration for Shakespeare’s . — was perceived by one of its survivors, William Strachey, not only as an awesome spectacle but 作者: SIT 時(shí)間: 2025-3-25 20:18
“Suppos’d to be rais’d by Magick”, or , ‘made fit’Springs up and buds a new reviving Play” (., Prologue 6).. Spoken at Lincoln’s Inn Fields theatre on 7 November 1667, these lines ushered in the production of .,. jointly written by poet laureate William Davenant and John Dryden, who was to wear the laurel wreath himself after Sir William’s death th作者: 起皺紋 時(shí)間: 2025-3-26 04:10 作者: Stagger 時(shí)間: 2025-3-26 08:09 作者: 公理 時(shí)間: 2025-3-26 09:26
Shakespeare’s Hypertextual Performances: Remediating , in d at length by recent scholarship. The innumerable versions and adaptations of Shakespeare’s last play, one of the central “interpellative ‘dream-texts’ of Western Literature” (Zabus 1), largely epitomise “the intricate instabilities and contingencies that emerge in conversations ‘a(chǎn)bout’ and ‘betwee作者: 組裝 時(shí)間: 2025-3-26 13:47
“This is a most majestic vision”: Performing Prospero’s Masque on Screen produced at the time. Through the dramatisation of different forms of pageantry and its impressive visual and acoustic display, . discloses its theatrical potential and sets off magic urging the spectator, both on stage and off, to constantly make assumptions.作者: 斑駁 時(shí)間: 2025-3-26 19:57
A Tempestuous Noise: on the Acoustics and Vocalics of Stormssensus the historical inspiration for Shakespeare’s . — was perceived by one of its survivors, William Strachey, not only as an awesome spectacle but also, precisely, as a big noise, a dreadful assault on his addled sense of hearing:作者: Axillary 時(shí)間: 2025-3-27 00:55
“Lost in Visual Pleasure”: Charles Kean’s Production of text was nevertheless treated in a very cavalier way. Only in 1838 were the adapted and operatic versions then in vogue eventually replaced by William Charles Macready’s Covent Garden production of ., which reinstated the Bard’s text and paved the way for later productions which were more faithful to the original version.作者: Blatant 時(shí)間: 2025-3-27 05:03
978-1-349-46206-3Palgrave Macmillan, a division of Macmillan Publishers Limited 2014作者: Exuberance 時(shí)間: 2025-3-27 09:07 作者: Brittle 時(shí)間: 2025-3-27 11:12 作者: Optimum 時(shí)間: 2025-3-27 17:20 作者: Atmosphere 時(shí)間: 2025-3-27 18:43
https://doi.org/10.1057/9781137333148Appropriation; comedy; drama; Enzo Paci; essay; interpret; Italy; media; noise; performance; play; rhetoric; the作者: 山頂可休息 時(shí)間: 2025-3-28 01:34
“Suppos’d to be rais’d by Magick”, or , ‘made fit’Springs up and buds a new reviving Play” (., Prologue 6).. Spoken at Lincoln’s Inn Fields theatre on 7 November 1667, these lines ushered in the production of .,. jointly written by poet laureate William Davenant and John Dryden, who was to wear the laurel wreath himself after Sir William’s death the year afterwards.作者: phlegm 時(shí)間: 2025-3-28 05:06 作者: Countermand 時(shí)間: 2025-3-28 09:03
Magical Realism: Raising Storms and Other Quaint DevicesLet me juxtapose two familiar stage directions in Folio’s text of .:作者: 發(fā)源 時(shí)間: 2025-3-28 14:17
Richard Andrewsegenüber stehen als anderen religi?sen Minderheiten, ist eines der zentralen Ergebnisse unserer Studie. Was m?gliche Erkl?rungsfaktoren für dieses Muster anbelangt, so wird in den meisten anderen Beitr?gen in diesem Band vorrangig auf Einstellungen, Werte, Pers?nlichkeitsdispositionen oder bestimmte作者: Focus-Words 時(shí)間: 2025-3-28 18:26
Robert Henkeegenüber stehen als anderen religi?sen Minderheiten, ist eines der zentralen Ergebnisse unserer Studie. Was m?gliche Erkl?rungsfaktoren für dieses Muster anbelangt, so wird in den meisten anderen Beitr?gen in diesem Band vorrangig auf Einstellungen, Werte, Pers?nlichkeitsdispositionen oder bestimmte作者: minion 時(shí)間: 2025-3-28 19:09
Roger Holdsworthen. So ist es mit der Frage nach den Grenzen der Staatsgewalt.. Im Preu?en des i8. Jahrhunderts, etwa beim Müller von Sanssouci, mit einer Spitze gegen den absoluten Monarchen, richtet sie sich in anderer Umgebung gegen die Staatsgewalt überhaupt. Nach der Einführung neuzeitlicher Verfassungen und d作者: 最小 時(shí)間: 2025-3-28 23:32 作者: quiet-sleep 時(shí)間: 2025-3-29 05:04
lversicherung zugunsten der GKV durch Kostenerstattungstarife und Zusatzversicherungen gegen eine Reihe von Normen des Gemeinschaftsrechts verst??t, die der deutsche Gesetzgeber im Rahmen seiner Pflicht zur Gemeinschaftskonformit?t h?tte beachten müssen, ist natürlich der deutsche Gesetzgeber in ers作者: 宣誓書 時(shí)間: 2025-3-29 10:16 作者: 落葉劑 時(shí)間: 2025-3-29 13:34
Annotating Real-World Objects Using Semantic Entities, to some objects, and aggregates them to descriptions of the objects themselves. It then makes this augmented object data available as (semantic) linked data. This removes several layers of indirection in the semantic data, and allows to directly access properties of real-world objects.作者: Respond 時(shí)間: 2025-3-29 19:25 作者: malign 時(shí)間: 2025-3-29 20:28 作者: 最有利 時(shí)間: 2025-3-30 03:47
A Discourse on Ethnographyan unpublished Ph.D. thesis completed in the United States in 1988 (Orlikowski, 1988). The analysis is carried out through a textual re-reading of this thesis, concentrating on genres as indicators of flux in ideological changes regarding the move from an essentially realist genre to what may be des作者: 使成核 時(shí)間: 2025-3-30 05:48 作者: GUILE 時(shí)間: 2025-3-30 08:17 作者: 北京人起源 時(shí)間: 2025-3-30 13:16
and students in computer science, geographic information science and its application areas, especially movement ecology and transportation research.978-3-319-10267-2978-3-319-10268-9Series ISSN 2191-5768 Series E-ISSN 2191-5776 作者: 凹室 時(shí)間: 2025-3-30 19:36
