Titlebook: Shakespeare and the French Borders of English; Michael Saenger Book 2013 Michael Saenger 2013 England.fiction.William Shakespeare

archetype

严厉批评

and ,his chapter advances the methodology of this study by focusing on more local issues involved in translation and the printed page. Here, I argue that a distinction drawn from translation theorists can offer tactical help in exploring the range of books in this study. The work of the previous chapter

晚间

Anterior Design: Presenting the Past in ,enomenon by splitting the self instead of reflecting it; how does one distinguish oneself from a nearly identical double? The plays that use this device, . and ., embed it in social worlds, thus foregrounding the larger question of social identity through local issues, such as service obligation, th

Monocle

gnarled

Comic Translations in ,hat French world, in Florence. Both attempt to become someone they are not yet; Parolles strives to become a military hero by recapturing the drum and instead becomes a prodigal outcast, whereas Helen succeeds in impersonating Diana in order to transform herself into Bertram’s fully legal, pregnant

易于

,“Dead for a Ducat”: Tragedy and Marginal Risk,ities of wealth and poverty. Meanwhile, the theater of tragedy emerged as a place where people could go to pay to watch other people in pain. The theater was a little globe, and one way to understand its relation to the broader world and economy is that the theater enacted something like what would

Spartan

,Conclusion: “Am I in France?”,g to bear-baiting, must make the audience uncomfortable. They may or may not attend bear-baitings, but here, they must recognize the parallel structure of tragedies and those spectacles of animalistic savagery. Animals themselves are not cruel, but we are if we pay to see them at their most savage,

Adulate

conjunctiva

Graduated