A Midsummer Night's Dream: Critical EssaysDorothea Kehler This volume traces the modern critical and performance history of this play, one of Shakespeare's most-loved and most-performed comedies. The essay focus on such modern concerns as feminism, deconstruction, textual theory, and queer theory. |
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Page 16
... changeling boy, Freake concludes that the Theseus myth resurfaces in Dream because the question of patriarchal power was as vital in Elizabethan England as it had been in classical Athens and that the l 6 Dorothea Kehler.
... changeling boy, Freake concludes that the Theseus myth resurfaces in Dream because the question of patriarchal power was as vital in Elizabethan England as it had been in classical Athens and that the l 6 Dorothea Kehler.
Page 26
... changeling” (69). EC. Pettet (1949) takes a more moderate view than either Charlton or Miller, discovering in Dream “a correction [rather] than a criticism of romantic love,” a “shaping attitude” rather than a “moral.” (113). For Pettet ...
... changeling” (69). EC. Pettet (1949) takes a more moderate view than either Charlton or Miller, discovering in Dream “a correction [rather] than a criticism of romantic love,” a “shaping attitude” rather than a “moral.” (113). For Pettet ...
Page 30
... changeling is a sexual toy for Oberon, the aristocrats—mortal and immortal—are promiscuous: “The lovers are ashamed of that night and do not want to talk about it, just as one does not want to talk of bad dreams. But that night ...
... changeling is a sexual toy for Oberon, the aristocrats—mortal and immortal—are promiscuous: “The lovers are ashamed of that night and do not want to talk about it, just as one does not want to talk of bad dreams. But that night ...
Page 31
... changeling boy through a kind of death once more to be wooed and won by Oberon” (39). Just as Zimbardo, untouched by the social interrogations of the '60s, takes female subordination within obligatory marriage for granted, so, too, he ...
... changeling boy through a kind of death once more to be wooed and won by Oberon” (39). Just as Zimbardo, untouched by the social interrogations of the '60s, takes female subordination within obligatory marriage for granted, so, too, he ...
Page 33
... changeling sexually, the evidence is slight and “seems deliberately ambiguous. . . . the fairies' ideas concerning love are ultimately unknowable and incomprehensible” (90). Rather, “[t]he conflict between sexual desire and rational ...
... changeling sexually, the evidence is slight and “seems deliberately ambiguous. . . . the fairies' ideas concerning love are ultimately unknowable and incomprehensible” (90). Rather, “[t]he conflict between sexual desire and rational ...
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actors allusion artisans Athenian Athens audience Bottom Brook changeling changeling boy characters chronotope Ciulei comic conflict court critics cultural define Demetrius desire director discourse disfigure distortion dramatic Duke Egeus Elizabethan English erotic essay fairies feminine festive figure final find first flower Freud gender hath Helena Hermia Hippolyta hypallage ideology imagination influence interpretation Kott literary London lovers Lysander Lysander’s male marriage McClinton mechanicals metaphor Midsummer Night Midsummer Night's Dream mislined Montrose moon myth Night s Dream Oberon patriarchal performance perspective Peter Peter Brook play’s plot poet poetic political production Puck Puck’s Pyramus and Thisbe queen Quince reading reflects relationship Renaissance representation represented rhetoric role romantic scene sense sexual Shakespeare Shakespeare’s plays Shakespearean comedy significant social specific speech stage story structure suggests textual theatre theatrical theory Theseus Theseus and Hippolyta Theseus’s Titania traditional translation University Press vision wedding woman women York