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Titlebook: Shakespeare and Emotions; Inheritances, Enactm R. S. White (Australian Professorial Fellow and Pr Book 2015 R. S. White, Mark Houlahan and

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楼主: clannish
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‘Of comfort and dispaire’: Plato’s Philosophy of Love and Shakespeare’s Sonnetsoman writers to come back ‘to life again,/to hear [his] Buskin tread … shake the Scene’,. presumably so that they could witness the good use to which Shakespeare had put their traditions. Recent Shakespearean scholarship has shown that Shakespeare’s engagement with the Classics was both extensive an
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Once Upon a Time: ,, Fairy Tales and ‘the terrifying truths of the inner life’His main grievances were directed at the plot: ‘the folly of the fiction, the absurdity of the conduct, the confusion of the names, and manners of different times, and the impossibility of the events in any system of life’.. While many critics may not directly agree with Johnson, the overwhelming ma
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French Feeling: Language, Sex and Identity in ,French’, Henry says, ‘unless it be to laugh at me’ (5.2.181–182).. This is one of many exchanges between the two characters that foreground the difficulty of expression in a second language. Henry’s concern, however, is a direct inversion of modern criticism that reads the French language and the Fr
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‘The teares of ten thousand spectators’: Shakespeare’s Experiments with Emotion from Talbot to Richaho might otherwise spend the afternoon gaming, drinking or ‘following of harlots.’ His proof is the popularity of the English history play with its reviving of ‘our forefathers valiant acts’. ‘What’, he asks, ‘can be a sharper reproofe to these degenerate effeminate dayes of ours?’ His special insta
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‘Say how I loved you’: Queering the Emotion of Male Same-Sex Love in ,complish in this chapter is to bring the imperatives of both fields of inquiry into direct contact as they relate to Shakespearean drama. My exemplar for this exercise will be ., a romantic comedy that, along with . and ., has garnered significant attention in recent times because of its obvious hom
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