Shakespearean Criticism: Excerpts from the Criticism of William Shakespeare's Plays and Poetry, from the First Published Appraisals to Current Evaluations, Volume 40Gale Research Company, 1984 |
From inside the book
Results 1-3 of 84
Page 61
... sexual differ- ence . For Catherine Belsey that blurring of sexual dif- ference opens the liberating possibility of undoing all the structures of domination and exploitation premised on binary sexual oppositions . " The play therefore ...
... sexual differ- ence . For Catherine Belsey that blurring of sexual dif- ference opens the liberating possibility of undoing all the structures of domination and exploitation premised on binary sexual oppositions . " The play therefore ...
Page 154
... sexual parts.10 In the last scene , speaking to Bassanio , Portia refers to the ring as " your wife's first gift " ( 5.2.166 ) , that is , her virginity . In giving Bassanio her " ring , ” Portia gives him her virginity , and a ...
... sexual parts.10 In the last scene , speaking to Bassanio , Portia refers to the ring as " your wife's first gift " ( 5.2.166 ) , that is , her virginity . In giving Bassanio her " ring , ” Portia gives him her virginity , and a ...
Page 265
... sexual desire quite unmatched by anything we have encountered so far not only in the intensity of that desire but in its inti- macy . As texts for private reading , Horace's Carmina might seem to invite the same kind of socially li ...
... sexual desire quite unmatched by anything we have encountered so far not only in the intensity of that desire but in its inti- macy . As texts for private reading , Horace's Carmina might seem to invite the same kind of socially li ...
Contents
Gender Identity | 1 |
The Merchant of Venice | 105 |
Sonnets | 220 |
Copyright | |
1 other sections not shown
Other editions - View all
Common terms and phrases
action actor Antonio appears argues audience Bassanio become begins bond calls castration characters choice Christian circumcision claims Cleopatra comedies comic conventional course critics daughter death describes desire discussion disguise Elizabethan essay example exchange father fear feel female feminine figure final flesh gender give hand heart hero heroines human husband identity interest John kind Lady less lines live London look lover Macbeth male marriage masculine means Merchant of Venice moral mother nature never offers person play plot poems political Portia possible present Press reading refer relations relationship rhetorical ring role Rosalind says scene seems sense sexual Shake Shakespeare Shylock social sonnets speak speech spirit stage suggests tell thing thou tion tragedy true turn University wife woman women York young