The TempestArden Shakespeare, 1999 - 366 sidor This edition situates The Tempest at the centre of changing cultural attitudes towards colonialism, power politics and patriarchal hierarchies, and demonstrates how the play both shaped and reflected those changing attitudes. Reflecting the concerns of a post-colonial international community, the edition emphasizes the play's worldwide cultural appropriation, and includes an extensive discussion of the play's after-life as well as an appendix of selected appropriations. The interdisciplinary editorial approach contributes a distinctively blended cultural and historical focus. |
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Sida 82
... role of Ariel , except for two instances when a young male dancer or singer played the part.1 Like Miss Lindar , who moved over to Dorinda in 1723 , the actresses sometimes outgrew it . Ariel needed to have a superb voice and light and ...
... role of Ariel , except for two instances when a young male dancer or singer played the part.1 Like Miss Lindar , who moved over to Dorinda in 1723 , the actresses sometimes outgrew it . Ariel needed to have a superb voice and light and ...
Sida 108
... role in late twentieth - century literary symbolism was often sub- ordinated to Miranda's . Re - enter Miranda In the conclusion to his 1987 analysis of post - colonial appropri- ations of The Tempest , Rob Nixon speculated that ' the ...
... role in late twentieth - century literary symbolism was often sub- ordinated to Miranda's . Re - enter Miranda In the conclusion to his 1987 analysis of post - colonial appropri- ations of The Tempest , Rob Nixon speculated that ' the ...
Sida 113
... role included a turban ; he later confessed that he tried to look like Dante ( Hirst , 46 ) . As the Darwinian Caliban faded , the role opened to modern nuances . In 1934 Roger Livesey ( opposite Charles Laughton's Prospero ) was ...
... role included a turban ; he later confessed that he tried to look like Dante ( Hirst , 46 ) . As the Darwinian Caliban faded , the role opened to modern nuances . In 1934 Roger Livesey ( opposite Charles Laughton's Prospero ) was ...
Innehåll
Sources | 287 |
Appropriations | 315 |
Abbreviations and references | 343 |
Upphovsrätt | |
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actor Aeneid African Alonso American Ard² audience Bermuda Boatswain brave Caliban Capell century Ceres characters cited colonial Crane daughter Dent doth drowned Dryden & Davenant Duke Duke of Milan early edition editors emended enchanted island English European eyes F lines father Ferdinand and Miranda fish Folg² Folger Shakespeare Library Folio Gonzalo Hanmer hath human i'th isle Jacobean Johnson & Steevens Jonathan Bate José Enrique Rodó Juno King London lord magician Mannoni masque master metaphor Milan Miranda modern monster Naples Neapolitans Nicholas Rowe nymphs o'th Orgel Ovid Oxf¹ performed perhaps play play's Pope Prospero proverbial reference role Rowe Rowe³ sb.¹ scene Sebastian and Antonio sense Setebos Shakespeare ship speech spirit stage directions Stephano Stephano and Trinculo storm strange suggests Sycorax Tempest thee Theobald thing thou tion Trinculo Tunis unto verb verse F Virginia Winter's Tale word
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