The Cambridge Introduction to Shakespeare's TragediesCambridge University Press, 2007-03-08 - 169 psl. Macbeth clutches an imaginary dagger; Hamlet holds up Yorick's skull; Lear enters with Cordelia in his arms. Do these memorable and iconic moments have anything to tell us about the definition of Shakespearean tragedy? Is it in fact helpful to talk about 'Shakespearean tragedy' as a concept, or are there only Shakespearean tragedies? What kind of figure is the tragic hero? Is there always such a figure? What makes some plays more tragic than others? Beginning with a discussion of tragedy before Shakespeare and considering Shakespeare's tragedies chronologically one by one, this 2007 book seeks to investigate such questions in a way that highlights both the distinctiveness and shared concerns of each play within the broad trajectory of Shakespeare's developing exploration of tragic form. |
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... performance , but they were performed as well as printed in sixteenth - century Europe and shaped the tastes first of elite , and later of popular audiences . The earliest performances of clas- sical plays in England , in the early ...
... performance , but they were performed as well as printed in sixteenth - century Europe and shaped the tastes first of elite , and later of popular audiences . The earliest performances of clas- sical plays in England , in the early ...
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... performance of Gorboduc , at the Inner Temple , January 1562 In this way too , it set an important precedent for later English tragedy , which often differed strikingly from its classical predecessors in having precisely that ...
... performance of Gorboduc , at the Inner Temple , January 1562 In this way too , it set an important precedent for later English tragedy , which often differed strikingly from its classical predecessors in having precisely that ...
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Turinys
1 skirsnis. | 25 |
2 skirsnis. | 26 |
3 skirsnis. | 27 |
4 skirsnis. | 33 |
5 skirsnis. | 38 |
6 skirsnis. | 40 |
7 skirsnis. | 43 |
8 skirsnis. | 46 |
14 skirsnis. | 77 |
15 skirsnis. | 84 |
16 skirsnis. | 91 |
17 skirsnis. | 103 |
18 skirsnis. | 114 |
19 skirsnis. | 115 |
20 skirsnis. | 126 |
21 skirsnis. | 127 |
9 skirsnis. | 52 |
10 skirsnis. | 55 |
11 skirsnis. | 65 |
12 skirsnis. | 66 |
13 skirsnis. | 72 |
22 skirsnis. | 134 |
23 skirsnis. | 136 |
24 skirsnis. | 140 |
25 skirsnis. | 147 |
26 skirsnis. | 150 |
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Pagrindiniai terminai ir frazės
action actor Antony and Cleopatra Antony's Apemantus Aristotle audience Aufidius become blood bond Brutus Capulet Cassius chorus classical close clown comedy comic contemporary contrast Cordelia Core scene Coriolanus death Desdemona drama earlier Elizabethan emblematic Emilia excess Faustus fear feel figure Folio friends Ghost Gloucester Gorboduc Hamlet handkerchief honour human Iago Iago's Julius Caesar kill kind King kneeling Lady Macbeth Lavinia Lear Lear's lovers Macduff manhood Marcus mark antony Martius masculinity moral murder opening scene Ophelia Othello parallel performance perspective play play's Plutarch political Portia protagonist question recalls recognise represented response revenge tragedy rhetoric ritual Roman Rome Romeo and Juliet Saturninus scripts seems Seneca sequence Shakespeare Shakespearean tragedy shows soliloquy Spanish Tragedy speak speech stage direction story suggest Tamora theatre thee thing thou Timon of Athens Titus Andronicus tragic hero villain violence virtue wife women words
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