Titlebook: Rematerializing Shakespeare; Authority and Repres Bryan Reynolds (Professor and Head of Doctoral Stu Book 2005 Palgrave Macmillan, a divisi

新石器時(shí)代

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Assemble

‘Strike All that Look Upon With Marvel’: Theatrical and Theological Wonder in g of the marvelous statue astonishes, perplexes, and surprises, holding on-stage spectators and theater audiences alike rapt with wonder. But if Shakespeare seeks, with Paulina, to ‘strike all that look upon’ his spectacle ‘with marvel,’ he also self-reflexively explores the nature of theatrical won

FOLLY

Performance and Urban Space in Shakespeare’s Rome, or ‘S.P.Q.L.’id Rome provide a precedent for those seeking to authorize and consolidate power, but it also served as a site of contest where existing social relations could be explored, reconsidered, and troubled. Caesarism was in the air, and Shakespeare’s London ‘saw its problems mirrored in the wide glass of

bronchodilator

Shakespeare’s Little Boys: Theatrical Apprenticeship and the Construction of Childhoodage. She buys the cottage, organizes the lovers, and successfully educates Orlando in the proprieties of courtship. More important, she makes the jokes, while the hero acts largely as her foil. In other words, she sets the tone, which means she has the primary responsibility for enlisting the audien

彎曲道理

Rematerializing Shakespeare’s Intertheatricality: The Occidental/Oriental Halimpsestcate a space conceived both temporally (from sunrise to sunset) and geographically (from Asia to Europe). They also circumscribe the space of the theatrical, providing the imaginative limits within which Rumour can ‘unfold/ The acts commenced on this ball of earth’ — if not the Globe (built in 1599)

舉止粗野的人

The Politics of Shakespeare’s Proseented density of representational material, such dramatists as Christopher Marlowe, George Peele, and Robert Greene offered the world as a sequence of secular actions undertaken by eloquent characters. For their plays’ eloquence these university-educated writers drew upon a rich variety of media, in

vanquish

鑒賞家

Kernel

Authority and the Early Modern Theatre: Representing Robert Weimannred in the 1980s in Britain and the United States as a seminal work of materialist criticism.1 This is all the more remarkable at a time when from the point of view of a practical politics as well as theoretical orientation, classical Marxism with its emphasis upon the role of collectivities such as

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