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Titlebook: Imagining Shakespeare‘s Original Audience, 1660-2000; Groundlings, Gallant Bettina Boecker Book 2015 The Editor(s) (if applicable) and The

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書目名稱Imagining Shakespeare‘s Original Audience, 1660-2000
副標(biāo)題Groundlings, Gallant
編輯Bettina Boecker
視頻videohttp://file.papertrans.cn/462/461856/461856.mp4
叢書名稱Palgrave Shakespeare Studies
圖書封面Titlebook: Imagining Shakespeare‘s Original Audience, 1660-2000; Groundlings, Gallant Bettina Boecker Book 2015 The Editor(s) (if applicable) and The
描述Comparatively little is known about Shakespeare‘s first audiences. This study argues that the Elizabethan audience is an essential part of Shakespeare as a site of cultural meaning, and that the way criticism thinks of early modern theatregoers is directly related to the way it thinks of, and uses, the Bard himself.
出版日期Book 2015
關(guān)鍵詞Shakespeare; Shakespeare reception; Shakespeare criticism; audience; Romanticism; theatre; twentieth centu
版次1
doihttps://doi.org/10.1057/9781137379962
isbn_ebook978-1-137-37996-2Series ISSN 2731-3204 Series E-ISSN 2731-3212
issn_series 2731-3204
copyrightThe Editor(s) (if applicable) and The Author(s) 2015
The information of publication is updating

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well as photosynthesis and biochemical analysis.? Written in the highly successful .Methods in Molecular Biology.? series format, chapters include introductions to their respective topics, lists of the necessa978-1-4939-6289-1978-1-61779-237-3Series ISSN 1064-3745 Series E-ISSN 1940-6029
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,Shakespeare’s Elizabethan Audience in Seventeenth- and Eighteenth-century Shakespeare Criticism, requirements concerning content and form was taken for a sign of cultivation, a marker both of the quality of the literary text and of the education of its author. Given these parameters, Shakespeare’s disregard for neoclassicist rules posed a considerable problem for, in effect, a newly refined En
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,Childish and Primitive: Shakespeare’s Elizabethan Audience and the Turn-of-the-century Theatrical Aan. The most prominent change during these decades is hence that early modern theatregoers are imagined with increasing variety. Only rarely do established traditions become obsolete, thus old and new ideas about Shakespeare’s first audiences, even when they directly contradict each other, can be fo
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