Titlebook: Harold Bloom‘s Shakespeare; Christy Desmet,Robert Sawyer Book 20011st edition Palgrave Macmillan, a division of Nature America Inc. 2001 E

largesse

壓迫

BAIL

The Case for Bardolatry: Harold Bloom Rescues Shakespeare from the Critics in a nutshell, is the argument of Harold Bloom’s . (Riverhead). It is a massive book—around 750 pages—and it discusses in more or less detail thirty-five plays, from . to .. With heroic disregard for academic fashion, Bloom sets out to revive the assumption that Shakespearean drama emerges from, an

內向者

聲音刺耳

Bloom, Bardolatry, and Characterolatryich raises the question of whether there is a necessary connection between them.. I do not think so, because there are other achievements of Shakespeare that can be, and have been, idolized besides his characters. Among the earliest appreciations of him that have come down to us (still far short of

Bombast

On the Value of Being a Cartoon, in Literature and in Lifemed professorships at two universities. Immediately upon the book’s publication, reviews appeared by the dozens, and . . was nominated for a National Book Award even before it was published (Gates and Chang 1998, 76). There was no hiding from it, not even in the ivory tower, where literature profess

ITCH

Shakespeare: The Orientation of the Humans than in terms of the numerous subjects about which he has written. Thus, after settling accounts with the New Critics and the deconstructionists, he decides now to take arms against a sea of “resenters,” and, by opposing, end them. In this sense, .: . (1998) is less a fresh reading of Shakespeare’

人類的發(fā)源

“The Play’s the Thing”: Shakespeare’S Critique of Character (and Harold Bloom)tion that no other form of discourse can: In the Bardolatry of . (1998), we are surely meant to hear the summation of his defense of literature and the human imagination. Its very intemperance, however flawed in ways noted by various critics, is bracing as a challenge to us all. To recognize with co

Interdict

帶來的感覺

Romanticism Lost: Bloom and the Twilight of Literary Shakespeare time” (Arnold 1986). I approach this question through Romanticism—the foundation of Bloom’s career and reaffirmed throughout this book, which, by locating Shakespearean “singularity” in the plays’ unparalleled “diversity of persons” and “inner selves,” identifies itself with “Romantic criticism, fr