Titlebook: Webster: The Tragedies; The Tragedies Kate Aughterson Textbook 2001Latest edition The Editor(s) (if applicable) and The Author(s) 2001 dram

生手

書目名稱Webster: The Tragedies影響因子(影響力)




書目名稱Webster: The Tragedies影響因子(影響力)學(xué)科排名




書目名稱Webster: The Tragedies網(wǎng)絡(luò)公開度




書目名稱Webster: The Tragedies網(wǎng)絡(luò)公開度學(xué)科排名




書目名稱Webster: The Tragedies被引頻次




書目名稱Webster: The Tragedies被引頻次學(xué)科排名




書目名稱Webster: The Tragedies年度引用




書目名稱Webster: The Tragedies年度引用學(xué)科排名




書目名稱Webster: The Tragedies讀者反饋




書目名稱Webster: The Tragedies讀者反饋學(xué)科排名

Assault

Society and Politicser we shall look explicitly at the society and politics of his dramatic worlds within two extracts, analysing how social structure and political conduct are intimately connected; how characterisation is a key way in which Webster engages our own political views; and the function of gender within the political crises.

CUB

拱形大橋

EndingsIs the ending darkly pragmatic? Does it answer all our questions, or not? The answers to these broader questions can be found through close analysis of the closing moments of any play. Let us turn, then, to the ending of ..

他日關(guān)稅重重

Compatriot

Heroes and Villainsividuals or participants in a world that is more flawed than they? Why is his focus on tragic heroines rather than heroes? You need to keep in mind what we have decided in Chapter 4, and place any conclusions you make here in that context.

concert

Hectic

六邊形

Webster’s Theatricalitying. And thirdly, we have noted the way he uses large ‘set-piece’ scenes, which coalesce visual and narrative motifs through self-conscious use of specific visual settings. Self-conscious theatricality is often called ‘meta-theatricality’: look at the Introduction for a definition of this term.

復(fù)習(xí)