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Titlebook: Hamlet and the Acting of Revenge; Peter Mercer Book 1987 Peter Mercer 1987 Hamlet.performance.play.Spanish.structure.tragedy

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發(fā)表于 2025-3-21 18:45:21 | 只看該作者 |倒序瀏覽 |閱讀模式
書目名稱Hamlet and the Acting of Revenge
編輯Peter Mercer
視頻videohttp://file.papertrans.cn/421/420648/420648.mp4
叢書名稱Contemporary Interpretations of Shakespeare
圖書封面Titlebook: Hamlet and the Acting of Revenge;  Peter Mercer Book 1987 Peter Mercer 1987 Hamlet.performance.play.Spanish.structure.tragedy
出版日期Book 1987
關(guān)鍵詞Hamlet; performance; play; Spanish; structure; tragedy
版次1
doihttps://doi.org/10.1007/978-1-349-09217-8
isbn_softcover978-1-349-09219-2
isbn_ebook978-1-349-09217-8Series ISSN 2947-1206 Series E-ISSN 2947-1214
issn_series 2947-1206
copyrightPeter Mercer 1987
The information of publication is updating

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沙發(fā)
發(fā)表于 2025-3-21 22:20:32 | 只看該作者
板凳
發(fā)表于 2025-3-22 03:21:04 | 只看該作者
The Political Economy of Post-Soviet Russiareason that the equally indispensable rhetoric of passion fails — against the dense reality of the play’s world it stands out as evidently unreal; it looks, quite literally, artificial. In . Hieronimo’s fantastic actions and ferocious threats aroused neither suspicion nor fear; even Lorenzo professe
地板
發(fā)表于 2025-3-22 05:58:41 | 只看該作者
: Mirror and Daggerexhibiting a cynical and horrible vision of life peculiar to Tourneur (as Eliot thought), the play is entirely orthodox. A homiletic tradition that had, by the late sixteenth century, grown somewhat threadbare in its antique misanthropy has here been transformed into what Peter considers ‘something
5#
發(fā)表于 2025-3-22 11:58:40 | 只看該作者
Commandment its most teasing difficulties, and its deepest meanings, arise from this sustained duality of mode. For Shakespeare does not in the least pretend, like Tourneur, that satire and revenge are easily compatible, and he is far from wishing to absorb both in some kind of savage comedy of retribution. Wh
6#
發(fā)表于 2025-3-22 13:43:10 | 只看該作者
Unmaskingreason that the equally indispensable rhetoric of passion fails — against the dense reality of the play’s world it stands out as evidently unreal; it looks, quite literally, artificial. In . Hieronimo’s fantastic actions and ferocious threats aroused neither suspicion nor fear; even Lorenzo professe
7#
發(fā)表于 2025-3-22 19:13:56 | 只看該作者
8#
發(fā)表于 2025-3-22 21:26:49 | 只看該作者
9#
發(fā)表于 2025-3-23 04:04:31 | 只看該作者
The Political Economy of Peripheral Growthion as the major motive of the play but paraded in an outrageous parody of the revenger’s role. It was . ‘tide of vengeance’, with all its frantic acting and gleeful deceit, that seemed ready to roll over everything, including the hero. Antonio himself was reduced to the rhetoric of lamentation and protective dissembling.
10#
發(fā)表于 2025-3-23 07:01:58 | 只看該作者
https://doi.org/10.1007/978-1-349-20553-0was so completely at odds with what he was in fact. And yet, as we have seen, that role of impotent fool, of one who is excluded from all the serious affairs of men, actually did express something real about Antonio’s position and his state of mind. His hold on the action really was now severely weakened, his quality shamefully diminished.
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