Shakespeare as a dramatic artist - a popular illustration of the principles of scientific criticism is an unchanged, high-quality reprint of the original edition of 1885. Hansebooks is editor of the literature on different topic areas such as research and science, travel and expeditions, cooking and nutrition, medicine, and other genres.As a publisher we focus on the preservation of historical literature.Many works of historical writers and scientists are available today as antiques only. Hansebooks newly publishes these books and contributes to the preservation of literature which has become rare and historical knowledge for the future.…mehr
Shakespeare as a dramatic artist - a popular illustration of the principles of scientific criticism is an unchanged, high-quality reprint of the original edition of 1885. Hansebooks is editor of the literature on different topic areas such as research and science, travel and expeditions, cooking and nutrition, medicine, and other genres.As a publisher we focus on the preservation of historical literature.Many works of historical writers and scientists are available today as antiques only. Hansebooks newly publishes these books and contributes to the preservation of literature which has become rare and historical knowledge for the future.
Preface to the third edition Preface to the second edition Preface to the first edition Introduction: plea for an inductive science of literary criticism Part I. Shakespeare Considered as a Dramatic Artist, in Fifteen Studies: 1. The two stories Shakespeare borrows for his Merchant of Venice. A study in the raw material of the romantic drama 2. How Shakespeare manipulates the stories in dramatising them. A study in dramatic workmanship 3. How Shakespeare makes his plot more complex in order to make it more simple. A study in underplot 4. A picture of ideal villainy in Richard III. A study in character-interpretation 5. Richard III, how Shakespeare weaves Nemesis into history. A study in plot 6. How Nemesis and destiny are interwoven in Macbeth. A further study in plot 7. Macbeth, Lord and Lady. A study in character-contrast 8. Julius Caesar beside his murderers and his avenger. A study in character-grouping 9. How the play of Julius Caesar works up to a climax at the centre. A study in passion and movement 10. How climax meets climax in the centre of Lear. A study in more complex passion and movement 11. Othello as a picture of jealousy and intrigue. A study in character and plot 12. How The Tempest is a drama of enchantment. A study in dramatic colouring 13. How the enchantment of The Tempest presents personal providence. A study in central ideas 14. How Loves Labour's Lost presents simple humour in conflict with various affections and conventionalities. A further study in central ideas 15. How As You Like It presents varied forms of humour in conflict with a single conventionality. A study of more complex dramatic colouring Part II. Survey of Dramatic Criticism as an Inductive Science: 16. Topics of dramatic criticism 17. Interest of character 18. Interest of passion 19. Interest of plot: statics 20. Interest of plot: dynamics Appendix Index.
Preface to the third edition Preface to the second edition Preface to the first edition Introduction: plea for an inductive science of literary criticism Part I. Shakespeare Considered as a Dramatic Artist, in Fifteen Studies: 1. The two stories Shakespeare borrows for his Merchant of Venice. A study in the raw material of the romantic drama 2. How Shakespeare manipulates the stories in dramatising them. A study in dramatic workmanship 3. How Shakespeare makes his plot more complex in order to make it more simple. A study in underplot 4. A picture of ideal villainy in Richard III. A study in character-interpretation 5. Richard III, how Shakespeare weaves Nemesis into history. A study in plot 6. How Nemesis and destiny are interwoven in Macbeth. A further study in plot 7. Macbeth, Lord and Lady. A study in character-contrast 8. Julius Caesar beside his murderers and his avenger. A study in character-grouping 9. How the play of Julius Caesar works up to a climax at the centre. A study in passion and movement 10. How climax meets climax in the centre of Lear. A study in more complex passion and movement 11. Othello as a picture of jealousy and intrigue. A study in character and plot 12. How The Tempest is a drama of enchantment. A study in dramatic colouring 13. How the enchantment of The Tempest presents personal providence. A study in central ideas 14. How Loves Labour's Lost presents simple humour in conflict with various affections and conventionalities. A further study in central ideas 15. How As You Like It presents varied forms of humour in conflict with a single conventionality. A study of more complex dramatic colouring Part II. Survey of Dramatic Criticism as an Inductive Science: 16. Topics of dramatic criticism 17. Interest of character 18. Interest of passion 19. Interest of plot: statics 20. Interest of plot: dynamics Appendix Index.
Es gelten unsere Allgemeinen Geschäftsbedingungen: www.buecher.de/agb
Impressum
www.buecher.de ist ein Internetauftritt der buecher.de internetstores GmbH
Geschäftsführung: Monica Sawhney | Roland Kölbl | Günter Hilger
Sitz der Gesellschaft: Batheyer Straße 115 - 117, 58099 Hagen
Postanschrift: Bürgermeister-Wegele-Str. 12, 86167 Augsburg
Amtsgericht Hagen HRB 13257
Steuernummer: 321/5800/1497
USt-IdNr: DE450055826