Titlebook: Victorian Shakespeare; Volume 2: Literature Gail Marshall (Senior Lecturer in Victorian Litera Book 2003 Palgrave Macmillan, a division of

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書目名稱Victorian Shakespeare影響因子(影響力)




書目名稱Victorian Shakespeare影響因子(影響力)學科排名




書目名稱Victorian Shakespeare網(wǎng)絡公開度




書目名稱Victorian Shakespeare網(wǎng)絡公開度學科排名




書目名稱Victorian Shakespeare被引頻次




書目名稱Victorian Shakespeare被引頻次學科排名




書目名稱Victorian Shakespeare年度引用




書目名稱Victorian Shakespeare年度引用學科排名




書目名稱Victorian Shakespeare讀者反饋




書目名稱Victorian Shakespeare讀者反饋學科排名

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Mary Cowden Clarke: Marriage, Gender and the Victorian Woman Critic of Shakespeare,iting, Shakespeare scholarship was not yet institutionalised within British universities; how did Mary establish herself among contemporary circles of Shakespeare scholars, particularly as the female member of a literary couple?

不如屎殼郎

,‘The Clue of Shakespearian Power Over Me’: Ruskin, Shakespeare, and Influence,e and the once loved, now distasteful Cervantes in its account of childhood literary experience because Ruskin was faithfully memorialising John James’s taste, but also because the deeper pattern of his own changes of heart, which I explore in this essay, underlay the memory.

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Dickens and Hamlet,ty of . is perhaps difficult to substantiate, but there is no doubt that, of all Shakespeare’s plays, . was the play to which Dickens most often alluded.. At first sight Dickens’s interest in . may seem surprising. Dickens, or Mr Popular Sentiment as Trollope infamously called him, was accused of vu

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Implicit and Explicit Reason: George Eliot and Shakespeare,Men of Letters series. Although she finally declined the invitation, I want to argue that, imaginatively, George Eliot was . absolutely inspired choice for the task — even though Morley himself had earlier approached Matthew Arnold and John Seeley, who both declined. Herbert Spencer had called Georg

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,‘Where Did She Get Hold of That?’ Shakespeare in Henry James’s ,,about the mostly undramatic struggle to live for art, and the mystery of genius. One of the two main protagonists is an actress, so a good deal of it directly addresses the conditions of the late-Victorian theatre, and the relation between British, French and (a little) Italian culture. One reason f

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,Shakespeare’s Weeds: Tennyson, Elegy and Allusion,ing the idea of the literary critic as a type of cultural shaman: ‘I began with the desire to speak with the dead.’ However, critics are not alone in hoping that their writing will allow them to speak with the dead; nor are they alone in being aware that, in Greenblatt’s words, ‘works of art, howeve