Titlebook: Negotiating multiple identities; Shame and pride amon Kiyoko Sueda Book 2014 Springer Science+Business Media Singapore 2014 Face and emotio

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Kiyoko Suedaimpact his work.Considers how Shakespeare‘s characters are cThis book examines conceptions of authority for and in Shakespeare, and the construction of Shakespeare as literary and cultural authority. The first section, Defining and Redefining Authority, begins by re-defining the concept of Shakespea

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Kiyoko Sueda centralizing ‘Lenten civil policy’, as Michael Bristol has called it,. remains to this day essential to the kind of pleasure which it affords to the audience. In the wake of Mikhail Bakhtin’s reading of Rabelais, the concept of popular or festive laughter (which C.L. Barber had already established

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tify Hamlet or Macbeth as characters, but figures such as Timon are harder to place. On one level, of course, Timon is a “character” in a play, an “actor’s name” as the list appended at the end of the 1623 folio text has it. But if we mean a ., one who projects a feeling of depth and inscrutability

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gm of modernity?. Here was Povich playing the role of father as fascist (the children were all girls, and no father was present, or even mentioned). The audiences hoots, laughter, and applause, I took it, functioned as a cathartic release from their roles as parents, and the audience were allowed to

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