標(biāo)題: Titlebook: Bargains with Fate; Psychological Crises Bernard J. Paris Book 1991 Springer Science+Business Media New York 1991 conflicts.play.William Sh [打印本頁(yè)] 作者: affected 時(shí)間: 2025-3-21 16:50
書(shū)目名稱(chēng)Bargains with Fate影響因子(影響力)
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書(shū)目名稱(chēng)Bargains with Fate讀者反饋
書(shū)目名稱(chēng)Bargains with Fate讀者反饋學(xué)科排名
作者: 共同生活 時(shí)間: 2025-3-21 23:04 作者: 大量殺死 時(shí)間: 2025-3-22 03:56 作者: Palliation 時(shí)間: 2025-3-22 07:38 作者: 商品 時(shí)間: 2025-3-22 10:26 作者: Morphine 時(shí)間: 2025-3-22 13:16 作者: 感激小女 時(shí)間: 2025-3-22 18:24 作者: Ascribe 時(shí)間: 2025-3-23 00:37 作者: chronology 時(shí)間: 2025-3-23 03:50 作者: 拍翅 時(shí)間: 2025-3-23 08:33
https://doi.org/10.1007/978-3-662-07738-2ut another, I think, is the multiplicity of trends, conflicts, and ambivalences in Shakespeare himself. Each of us tends to focus upon the aspect of Shakespeare to which we have a particularly strong response and to ignore or downplay the others. I have tried to account for many facets of Shakespear作者: Stricture 時(shí)間: 2025-3-23 13:24 作者: SLAG 時(shí)間: 2025-3-23 15:03
Springer Science+Business Media New York 1991作者: 軟膏 時(shí)間: 2025-3-23 20:36
http://image.papertrans.cn/b/image/180833.jpg作者: 不持續(xù)就爆 時(shí)間: 2025-3-24 01:53
Overview: 978-1-4899-6146-4作者: 上釉彩 時(shí)間: 2025-3-24 03:18 作者: 與野獸博斗者 時(shí)間: 2025-3-24 08:03 作者: 發(fā)現(xiàn) 時(shí)間: 2025-3-24 12:29
Rainer Fehr,Rolf Annuss,Claudia Terschürenng tendencies paralyze him in a situation that calls for aggressive action, we have in this play two characters who behave more aggressively than is warranted by the offenses to which they are reacting. Here the tragedy arises from the hero’s taking his revenge not too slowly, but too fast.作者: Abbreviate 時(shí)間: 2025-3-24 17:24 作者: 辮子帶來(lái)幫助 時(shí)間: 2025-3-24 22:27 作者: Diastole 時(shí)間: 2025-3-25 01:39 作者: 和平 時(shí)間: 2025-3-25 06:40
Flood and Infectious Disease Risk Assessmentat his tragic heroes and heroines have a life of their own and have seemed like fellow human beings to people of subsequent ages and cultures. We can use twentieth-century psychoanalytic theories and our knowledge of ourselves as an aid to understanding them, and our understanding of them contribute作者: 認(rèn)識(shí) 時(shí)間: 2025-3-25 11:32
https://doi.org/10.1007/978-981-13-2526-7dency to universalize, and a craving for absolutes; but these are thematic necessities rather than traits of personality. A character’s behavior is to be understood as predicated much more “upon his world-view” (p. 20) than upon psychological “motives.”作者: Debrief 時(shí)間: 2025-3-25 15:25
Ramona Strohsch?n,Rafig Azzam,Klaus Baiern to psychological or realistic drama, with which it has very little in common” (1972, 83). “In .,” he proclaims, “even more than in ., significance holds plot and character in an iron grasp” (1972, 74).作者: 乞討 時(shí)間: 2025-3-25 18:03 作者: Phenothiazines 時(shí)間: 2025-3-25 23:07
https://doi.org/10.1007/978-3-7908-2733-0 submissive, idealistic side, that dislikes cruelty and is given to loving-kindness and Christian charity. Shakespeare is afraid of his feminine side and employs “aggressive masculinity ... as a defense against it” (Holland 1966, 141–142); he can express tenderness and charity only when his aggressi作者: 間諜活動(dòng) 時(shí)間: 2025-3-26 01:06 作者: Boycott 時(shí)間: 2025-3-26 04:29 作者: promote 時(shí)間: 2025-3-26 11:18 作者: Alveoli 時(shí)間: 2025-3-26 15:06 作者: essential-fats 時(shí)間: 2025-3-26 17:18 作者: 縱火 時(shí)間: 2025-3-26 21:23 作者: MUMP 時(shí)間: 2025-3-27 04:10
Shakespeare’s Conflicts submissive, idealistic side, that dislikes cruelty and is given to loving-kindness and Christian charity. Shakespeare is afraid of his feminine side and employs “aggressive masculinity ... as a defense against it” (Holland 1966, 141–142); he can express tenderness and charity only when his aggressi作者: Archipelago 時(shí)間: 2025-3-27 08:57
“What Fools These Mortals Be”acing men are treated differently in the comedies than they are in the histories and tragedies. Since these are domestic plays that are more concerned with love than with power, the males do not have to be so aggressive. There is mockery of self-effacing behavior toward the opposite sex, whether the作者: separate 時(shí)間: 2025-3-27 12:08 作者: initiate 時(shí)間: 2025-3-27 15:54 作者: CAMEO 時(shí)間: 2025-3-27 18:27 作者: mastopexy 時(shí)間: 2025-3-27 23:43 作者: 假裝是你 時(shí)間: 2025-3-28 04:06
Othelloe is unfaithful, and Othello revenges himself upon Desdemona by murdering her in their marriage bed. Instead of having a protagonist whose self-effacing tendencies paralyze him in a situation that calls for aggressive action, we have in this play two characters who behave more aggressively than is w作者: galley 時(shí)間: 2025-3-28 09:11 作者: octogenarian 時(shí)間: 2025-3-28 12:47 作者: 繁忙 時(shí)間: 2025-3-28 17:42
Shakespeare’s Conflictsposites in his nature, and it is the relation between these opposites ... that gives energy and life to his work” (1964, 82). Critics have tended to define these opposites in terms of masculine and feminine traits. In ., Harold Grier McCurdy concluded that Shakespeare “was predominantly masculine, a作者: Immortal 時(shí)間: 2025-3-28 21:27 作者: 帳單 時(shí)間: 2025-3-29 02:17 作者: Inferior 時(shí)間: 2025-3-29 06:02
The Tempestut another, I think, is the multiplicity of trends, conflicts, and ambivalences in Shakespeare himself. Each of us tends to focus upon the aspect of Shakespeare to which we have a particularly strong response and to ignore or downplay the others. I have tried to account for many facets of Shakespear作者: 矛盾 時(shí)間: 2025-3-29 08:48
Andreas R. Borszcz,Sven PiechotaControlling-Praxis erfolgreicher Unternehmen
