Titlebook: Shakespearean Continuities; Essays in Honour of John Batchelor,Tom Cain,Claire Lamont Book 1997 Palgrave Macmillan, a division of Macmilla

異端

anniversary

難聽的聲音

Credulous to False Prints: Shakespeare, Chettle, Harvey, Wolfelous’ and ‘print’, the sense ‘believing of false printed publications’ can scarcely be excluded.. Mopsa in . . shows just such a credulity, naively enthusing T loue a ballet in print, a life, for then we are sure they are true’ (4.iv.258–9). In an undertow to the main drift of these lines, Shakespea

motivate

瑣碎

Freud and Shakespeare: omed to Freud’s famous theory of the Oedipus Complex. The simple sentence in which the theory is stated no longer shocks. Does this mean that we have learned to accept the proposition as true? If we have indeed reached a stage of belief — as distinct from a mere numb habituation — then, I suggest, w

集聚成團(tuán)

The Infamous Ripley and SHAKSPERrelished the prospect of consulting the printout. Or perhaps the typescript, I thought, revising the prospect with a reflection on differing rates in the assimilation of computer technology. Not enough revision, as it turned out: in Newcastle I found myself browsing through the original holograph ma

基因組

FRAX-tool

Shakespeare the Mane in between, and it has affinities with both tragedies: from one viewpoint it might be a dark, jokey play, with hard, clear minor jokes and enigmatic major ones. Pompey’s ‘Dizie’, or Master Caper, ruined by costly peach-coloured suits, may be what they patently seem; but it is not so with the leadi

白楊魚

The Rapture of the Sea of the play, . ., which gives us ‘rapture’: ‘a(chǎn) Jewel, whom all the raptures of the sea could not bereave from his arme ... .’. Neither ‘rapture’ not ‘rupture’ is common in Shakespeare. The word ‘rapture’, which here would mean a violent seizure, is only used by Shakespeare to mean a seizure of a di

責(zé)怪

‘Comparisons and wounding flouts : , and the Tradition of Personal Satireelligible; and the authour that gratifies private malice, ., destroys the future efficacy of his own writings, and sacrifices the esteem of succeeding times to the laughter of a day. It is no wonder, therefore, that the sarcasms which, perhaps, in the authour’s time . playhouse ., are now lost among