新奇
发表于 2025-3-26 23:45:25
Book 2019nces, adaptors, and academics have with what may well be Shakespeare’s moodiest play. Its chapters explore emotion in .Hamlet., as well as the myriad emotions surrounding .Hamlet.’s debts to the medieval past, its relationship to the cultural milieu in which it was produced, its celebrated performan
Pander
发表于 2025-3-27 04:29:15
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champaign
发表于 2025-3-27 07:14:13
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甜瓜
发表于 2025-3-27 12:24:46
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厌倦吗你
发表于 2025-3-27 15:42:15
https://doi.org/10.1007/978-3-319-54852-4considers ., a reduced, promenade version of the play performed at Kronborg Castle, .’s Elsinore, drawing on approaches including Pierre Nora’s ., Virginia Woolf’s literary pilgrimage, Marvin Carlson’s spatial haunting, Edward Soja’s Thirdspace, Gertrude Stein’s syncopated time, and Rebecca Schneider’s historical reenactment.
Incorruptible
发表于 2025-3-27 17:56:21
https://doi.org/10.1057/9781137449078, in the twelfth-century Latin treatise, the . In this medieval text, just as in ., the imagination is not the diametrical opposite of truth, especially when it came to knowledge of the afterlife. The . explains Purgatory as something like a vast piece of poetry, which was nevertheless essentially true.
抛物线
发表于 2025-3-28 00:58:16
https://doi.org/10.1057/9780230503526tage ghosts owe much to Seneca, whose phantoms are bloodcurdling but not eerie. There was another tradition, however, of fireside tales designed to inculcate fear and wonder. While many of these oral narratives are necessarily lost, enough material survives to indicate an additional source for Shakespeare’s Ghost.
flourish
发表于 2025-3-28 02:56:28
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eczema
发表于 2025-3-28 09:19:36
d strand of Senecan thought in Shakespeare’s tragedy. Reconfiguring the largely discredited but still influential opposition of Shakespeare and Jonson, this essay argues that Shakespeare’s classicism may be more pervasive and Jonson’s interest in the emotions more profound than comparisons between the two writers have tended to recognise.
Expediency
发表于 2025-3-28 12:10:02
The Political Economy of Health Careth wish in the first soliloquy—a temptation to suicide—, but also that he actively seeks Ovidian transformation in the form of a watery metamorphosis. Indeed, the desire to weep becomes a powerful engine of tragic catharsis despite the period’s profound reservations about mourning.