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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Results 1-5 of 82
Page 4
... sexual maturation and preference; and most recently, of early modern but lingering racialism. My survey of pre-twentieth-century Dream criticism is not subdivided into categories, since most men of letters-and they were men—wrote ...
... sexual maturation and preference; and most recently, of early modern but lingering racialism. My survey of pre-twentieth-century Dream criticism is not subdivided into categories, since most men of letters-and they were men—wrote ...
Page 5
... sexual revolution, and the protests against the Vietnam war, political trend setters would find such behavior eminently rational and embark on a fin de siecle project that has transfonned critical practice. We are learning, as Terence ...
... sexual revolution, and the protests against the Vietnam war, political trend setters would find such behavior eminently rational and embark on a fin de siecle project that has transfonned critical practice. We are learning, as Terence ...
Page 30
... sexuality. Lysander and Demetrius are verbally brutal, “[t]he lovers are exchangeable” (219) and objectified, the changeling is a sexual toy for Oberon, the aristocrats—mortal and immortal—are promiscuous: “The lovers are ashamed of ...
... sexuality. Lysander and Demetrius are verbally brutal, “[t]he lovers are exchangeable” (219) and objectified, the changeling is a sexual toy for Oberon, the aristocrats—mortal and immortal—are promiscuous: “The lovers are ashamed of ...
Page 32
... sexuality——unless indeed it be Bottom, who has the comparative good fortune to be chiefly devoted to himself. . .” (106). Richmond explains “the lovers' delight in an emotion heightened by conflict” (111) as part of the western ...
... sexuality——unless indeed it be Bottom, who has the comparative good fortune to be chiefly devoted to himself. . .” (106). Richmond explains “the lovers' delight in an emotion heightened by conflict” (111) as part of the western ...
Page 33
... 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 restraint is ...
... 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 restraint is ...
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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