Titlebook: Violence, Trauma, and Virtus in Shakespeare‘s Roman Poems and Plays; Transforming Ovid Lisa S. Starks-Estes Book 2014 Palgrave Macmillan, a

HEM

書目名稱Violence, Trauma, and Virtus in Shakespeare‘s Roman Poems and Plays影響因子(影響力)




書目名稱Violence, Trauma, and Virtus in Shakespeare‘s Roman Poems and Plays影響因子(影響力)學科排名




書目名稱Violence, Trauma, and Virtus in Shakespeare‘s Roman Poems and Plays網(wǎng)絡(luò)公開度




書目名稱Violence, Trauma, and Virtus in Shakespeare‘s Roman Poems and Plays網(wǎng)絡(luò)公開度學科排名




書目名稱Violence, Trauma, and Virtus in Shakespeare‘s Roman Poems and Plays被引頻次




書目名稱Violence, Trauma, and Virtus in Shakespeare‘s Roman Poems and Plays被引頻次學科排名




書目名稱Violence, Trauma, and Virtus in Shakespeare‘s Roman Poems and Plays年度引用




書目名稱Violence, Trauma, and Virtus in Shakespeare‘s Roman Poems and Plays年度引用學科排名




書目名稱Violence, Trauma, and Virtus in Shakespeare‘s Roman Poems and Plays讀者反饋




書目名稱Violence, Trauma, and Virtus in Shakespeare‘s Roman Poems and Plays讀者反饋學科排名

prostate-gland

The Origin of Love: Ovidian Lovesickness and Trauma in ,satirical . (first performed in 1601). In this comedy, Jonson directly pokes fun at fellow dramatists John Marston and Thomas Dekker and indirectly criticizes Ovidian poet- playwrights Marlowe and Shakespeare by staging a showdown between Ovid and Virgil, moderated by Horace (most likely representin

choleretic

Shakespeare’s Perverse Astraea, Martyr’d Philomel, and Lamenting Hecuba: Ovid, Sadomasochism, and Tridian context, the line reads ‘virgo caede madentis / ultima caelestum terras Astraea reliquit’ (1.149–50) — ‘Virgin Astraea, the last immortal left / on the bloodstained earth, withdraws from it in horror’ (1.203–4). In ., the departure of Astraea, the goddess of justice, marks the end of the Golde

確定方向

MAIZE

‘A wretched image bound’: Neo-Stoicism, Trauma, and the Dangers of the Bounded Self in , his Lucrece, & his tragedie of Hamlet, Prince of Denmarke, have it in them, to please the wiser sort.’ Tellingly, Harvey punctuates his marginal comment, written in 1603 (or earlier) on his manuscript of Speght’s 1598 edition of Chaucer, with the same quotation from Ovid’s . that heads what he judg

鋼筆尖

Bleeding Martyrs: The Body of the Tyrant/Saint, the Limits of ‘Constancy’, and the Extremity of the s Roman poems and plays. Shakespeare here uses the figure of Caesar — with its multifaceted legacy in history, legend, and myth — to explore the complex and ambivalent associations inherited from these past traditions and to expose the direct link between Christianity and its pagan Roman past. In fo

BOAST

Influx

Coda transformation to incorporate multilayered intertexts of Ovid’s poetry. These plays, which juxtapose the power of the imagination alongside the horrors of violence and plurality of sexual desire, function as early and late signposts of Shakespeare’s lifetime Ovidian project.. As I noted in the Intr

舊石器

Intersect

ng, with only occasional one-to-one tutoring, to hard copy learning where student packs are sent by post and backed up by regular tutorials. Even within these variables, no two courses will be identical in their delivery, even if they are both using essentially the same course components. No one met