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2210080832161 |
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20170929100905 |
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m o d |
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cr cnu|||unuuu |
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150901s2016 enk ob 000 0 eng d |
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▼a923550123▼a929143579 |
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▼a9781408184806▼qelectronic bk. |
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▼a140818480X▼qelectronic bk. |
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▼z9781408184516 |
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▼a(OCoLC)919495715▼z(OCoLC)923550123▼z(OCoLC)929143579 |
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▼aN▼beng▼erda▼epn▼cN▼dYDXCP▼dN▼dOCLCF▼dEBLCP▼dIDEBK▼dCDX▼d221008 |
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▼aPR2802.A8 |
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▼aDRA▼x003000▼2bisacsh |
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▼aDRA▼x010000▼2bisacsh |
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▼a822.3/3▼223 |
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▼aVaughan, Virginia Mason,▼eauthor. |
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▼aAntony and Cleopatra :▼blanguage and writing /▼cVirginia Mason Vaughan. |
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▼aLondon ;▼aNew York :▼bBloomsbury Arden Shakespeare,▼c2016. |
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▼a1 online resource. |
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▼atext▼btxt▼2rdacontent |
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▼acomputer▼bc▼2rdamedia |
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▼aonline resource▼bcr▼2rdacarrier |
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▼aArden Student Skills: Language and Writing |
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▼aIncludes bibliographical references. |
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▼a""FC ""; ""Half title""; ""Arden Student Skills: Language and Writing""; ""Title""; ""Copyright""; ""Contents""; ""Acknowledgements""; ""Series editora???s preface""; ""Preface""; ""Introduction and overview""; ""Shakespearea???s perspective art""; ""First appearance""; ""The legend""; ""Peopling Egypt and Rome""; ""Genre""; ""Writing matters""; ""1 Language in print: Reading the performance script""; ""Early modern staging""; ""Reading the Folio text""; ""Visualizing the scene""; ""a???He words me, girls, he words mea???""; ""Cutting the text""; ""Writing matters"" |
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▼a""2 Language: Forms and uses""""Feel the beat""; ""Prose""; ""Sound and sense""; ""Figurative language""; ""Mythmaking""; ""Wordplay""; ""Writing matters""; ""3 Language through time: Changing interpretations""; ""Antony and Cleopatra after Shakespeare""; ""Characterizing the characters""; ""Well-wrought urns""; ""Deconstructing the text""; ""History and politics""; ""Gender""; ""Cleopatraa???s tawny front""; ""Colonizing Egypt""; ""From stage to page""; ""Intertextuality""; ""New questions""; ""Writing matters""; ""4 Writing checklist""; ""Bibliography"" |
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▼aReading Antony and Cleopatra is particularly challenging because of Shakespeare's masterful embodiment of Rome and Egypt's contrasting worlds in language, structure, and characterization. Instead of seeing the interaction of Roman and Egyptian perspectives in Antony and Cleopatra as a type of double image of reality that changes as one moves from one location to another, students often find themselves compelled to pick sides. The more romantic opt for Cleopatra as the most sympathetic character, while the pragmatists dismiss her lifestyle as self-indulgent. The central challenge in reading th. |
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▼aVendor-supplied metadata. |
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▼aeBooks on EBSCOhost▼bAll EBSCO eBooks |
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▼aShakespeare, William,▼d1564-1616.▼tAntony and Cleopatra▼xCriticism and interpretation. |
600
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▼aShakespeare, William,▼d1564-1616▼xInfluence. |
600
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▼aShakespeare, William,▼d1564-1616.▼2fast▼0(OCoLC)fst00029048 |
630
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▼aAntony and Cleopatra (Shakespeare, William)▼2fast▼0(OCoLC)fst01356313 |
650
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▼aDRAMA / English, Irish, Scottish, Welsh▼2bisacsh |
650
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▼aDRAMA / Shakespeare▼2bisacsh |
650
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▼aInfluence (Literary, artistic, etc.)▼2fast▼0(OCoLC)fst00972484 |
650
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▼aAntonius, Marcus, 83 B.C.?-30 B.C. -- Drama. |
650
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▼aCleopatra, Queen of Egypt, -30 B.C. -- Drama. |
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▼aEgypt -- History -- 332-30 B.C. -- Drama. |
655
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▼aElectronic books. |
655
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▼aCriticism, interpretation, etc.▼2fast▼0(OCoLC)fst01411635 |
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▼aElectronic books. |
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▼iPrint version:▼aVaughan, Virginia Mason▼tAntony and Cleopatra : Language and Writing▼d: Bloomsbury Publishing,c2015▼z9781408184516 |
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▼aArden student skills. |
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