Shakespeare: the Roman PlaysGraham Holderness, Bryan Loughrey, Andrew Murphy An authoritative introduction which considers the Roman plays of Shakespeare - Julius Caesar, Antony and Cleopatra and Coriolanus in the light of both traditional and contemporary criticism. The collection of essays reflects the range and impact of modern critical approaches - marxism, feminism, new historicism, cultural materialism, psychoanalytic theory and performance analysis on the individual plays and on 'Roman' drama. |
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Page 38
... ambivalence of representation itself : ' Why dost thou show to the apt thoughts of men / The things that are not ... ambivalent narrative which elicits , to use Schanzer's phrase , ' divided responses'.30 Cassius , the stage machiavel ...
... ambivalence of representation itself : ' Why dost thou show to the apt thoughts of men / The things that are not ... ambivalent narrative which elicits , to use Schanzer's phrase , ' divided responses'.30 Cassius , the stage machiavel ...
Page 90
... ambivalence of all kinds characteristic of the play ( ' The Varying Shore of the World : Ambivalence in Antony and Cleopatra , ' Modern Language Quarterly 27 [ 1966 ] : 18–32 ) . There has been very little full - scale psychoanalytic ...
... ambivalence of all kinds characteristic of the play ( ' The Varying Shore of the World : Ambivalence in Antony and Cleopatra , ' Modern Language Quarterly 27 [ 1966 ] : 18–32 ) . There has been very little full - scale psychoanalytic ...
Page 105
... ambivalently , is prepared to sacrifice for sexual freedom ; correspondingly , the heroic virtus which he wants to reaffirm in and through Cleopatra is in fact almost entirely a function of the power structure which he , again ambivalently ...
... ambivalently , is prepared to sacrifice for sexual freedom ; correspondingly , the heroic virtus which he wants to reaffirm in and through Cleopatra is in fact almost entirely a function of the power structure which he , again ambivalently ...
Contents
Shakespeares Roman | 18 |
Julius Caesar and | 32 |
TERENCE HAWKES | 150 |
Copyright | |
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action Adelman Alan Sinfield ambivalence analysis Antony and Cleopatra Antony's audience authority becomes belly body Bristol Britain British Brutus butchers Cambridge carnival Cassius Christopher Hill Cinna citizens Cloten common constitutes contemporary Coriolanus criticism Cultural Materialism Cymbeline death desire discourse drama early modern effect Elizabethan England English essay fable female festive finally flutter'd Globe Globe Theatre grotesque body heroic masculinity honor ideology imaginative Imogen Isis Jacobean John Drakakis Jonathan Dollimore Julius Caesar king legitimation literary London Menenius Methuen Michael Midlands Rising Osiris Oxford patricians play's plebeians plebs Plutarch political Pompey popular Posthumus Posthumus's proclamation production Radical Tragedy reading Renaissance representation Richard Wilson Roman Plays Rome Routledge Royal Ordnance scene selfhood sexual Shakespeare Survey Shakespeare's Roman social society speech Stratford structure struggle subversive suggests symbolic Tennenhouse theatre theatrical theory thou tradition tragic trans Traversi tribunes Univ University Press virtue Wilson Knight York