Titlebook: Shakespeare: Seven Tragedies Revisited; The Dramatist’s Mani E. A. J. Honigmann Book 2002Latest edition E. A. J. Honigmann 2002 consciousne

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E. A. J. Honigmannhnik.Völlig neu bearbeitet wurden die Kapitel Kreativität, A.Die fünfte Auflage dieses Standardwerks wurde vollständig überarbeitet und deutlich erweitert. Das in zwei Bänden (Konzeption und Gestaltung sowie Produktion und Technik) vorliegende Kompendium berücksichtigt die Rahmenpläne und Studienord

微不足道

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Response and Dramatic Perspective,sleep from the concern which he felt on account of ‘This sad affair of Baretti,’ begging of him to try if he could suggest any thing that might be of service; and, at the same time, recommending to him an industrious young man who kept a pickle-shop.

不要严酷

Hamlet as Observer and Consciousness,tisfied with his first mature tragedy, and that he went over the same ground again because he recognised, too late, that he had not made the most of it. Advancing from Brutus to Hamlet he must have pondered many of the fundamental questions of tragedy — not least, I think, the tragic hero’s relations with the audience.

平静生活

,Lear’s Mind,ing up and disclosing to the bottom that sea, his mind, with all its vast riches. It is his mind which is laid bare … while we read [the tragedy] we see not Lear, but we are Lear, — we are in his mind. (Charles Lamb)1

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,: the Murderer as Victim, in 1823 and still regarded as an anthology-piece. Important for its recognition of a major critical task, De Quincey’s essay fails, I think, as an explanation of the effect of one of Shakespeare’s greatest scenes — yet, right or wrong, it raises questions about response that are still worth asking today.

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s new chapters on Henry V, As You Like It, and on ‘the study of the audience and the study of response‘. Both readers and actors/theatre-goers will find will find it opens up new ways of looking at the plays and at the mechanisms that underpin some of the most magical moments in Shakespeare‘s plays.978-0-333-99582-2978-0-230-50303-8