AGATE
发表于 2025-3-23 10:09:29
Kiyoko Suedaimpact his work.Considers how Shakespeare‘s characters are cThis book examines conceptions of authority for and in Shakespeare, and the construction of Shakespeare as literary and cultural authority. The first section, Defining and Redefining Authority, begins by re-defining the concept of Shakespea
作呕
发表于 2025-3-23 13:56:03
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ORBIT
发表于 2025-3-23 18:42:01
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intrude
发表于 2025-3-24 01:57:52
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CRAB
发表于 2025-3-24 02:28:18
Kiyoko Sueda centralizing ‘Lenten civil policy’, as Michael Bristol has called it,. remains to this day essential to the kind of pleasure which it affords to the audience. In the wake of Mikhail Bakhtin’s reading of Rabelais, the concept of popular or festive laughter (which C.L. Barber had already established
使成核
发表于 2025-3-24 08:30:27
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变色龙
发表于 2025-3-24 11:29:59
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激怒某人
发表于 2025-3-24 15:23:31
tify Hamlet or Macbeth as characters, but figures such as Timon are harder to place. On one level, of course, Timon is a “character” in a play, an “actor’s name” as the list appended at the end of the 1623 folio text has it. But if we mean a ., one who projects a feeling of depth and inscrutability
龙卷风
发表于 2025-3-24 19:37:40
gm of modernity?. Here was Povich playing the role of father as fascist (the children were all girls, and no father was present, or even mentioned). The audiences hoots, laughter, and applause, I took it, functioned as a cathartic release from their roles as parents, and the audience were allowed to
苦恼
发表于 2025-3-25 02:24:34
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