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 72
Page 8
... speech and Hippolyta's response to it. Maginn regards Theseus as Shakespeare's voice and the speech as a call for imaginative audiences. Maginn was also responsible for the first character study of Bottom—“the lucky man, . . . on whom ...
... speech and Hippolyta's response to it. Maginn regards Theseus as Shakespeare's voice and the speech as a call for imaginative audiences. Maginn was also responsible for the first character study of Bottom—“the lucky man, . . . on whom ...
Page 13
... speech had been revised in order to chart its consequences for interpreting the character of Theseus and act 5 generally. Wilson's theory allows for Shakespeare's conscious fashioning of a duke who comes to appreciate the irrational ...
... speech had been revised in order to chart its consequences for interpreting the character of Theseus and act 5 generally. Wilson's theory allows for Shakespeare's conscious fashioning of a duke who comes to appreciate the irrational ...
Page 18
... speeches, but the whole structure of A Midsummer Night 's Dream (331). G. Wilson Knight (1932), perhaps the best-known ... speech. Likening Dream to Macbeth, he concludes, “Darkness and fear permeate this play. It is a darkness spangled ...
... speeches, but the whole structure of A Midsummer Night 's Dream (331). G. Wilson Knight (1932), perhaps the best-known ... speech. Likening Dream to Macbeth, he concludes, “Darkness and fear permeate this play. It is a darkness spangled ...
Page 22
... speech intimates “more abstract sets of opposites like illusion and reality. . .” (67). The other character groups also speak in their own styles, but without endangering the unity of the play achieved through iterative imagery, which ...
... speech intimates “more abstract sets of opposites like illusion and reality. . .” (67). The other character groups also speak in their own styles, but without endangering the unity of the play achieved through iterative imagery, which ...
Page 23
... speech, focusing on Bottom; Vickers demonstrates how syntax and repetition create Bottom's characterization. Thomas Clayton (1971), in an amusing essay on the wall scene, finds textual support for Wall spreading his legs (the chink) as ...
... speech, focusing on Bottom; Vickers demonstrates how syntax and repetition create Bottom's characterization. Thomas Clayton (1971), in an amusing essay on the wall scene, finds textual support for Wall spreading his legs (the chink) as ...
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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