skip to main
|
skip to sidebar
Tuesday, October 30, 2007
songs and singing
What is the purpose or function of the songs interjected in "Hyde Park"? Is there a significance beyond wit/humor?
No comments:
Post a Comment
Newer Post
Older Post
Home
Subscribe to:
Post Comments (Atom)
791 K Discussion Questions
Blog Archive
▼
2007
(287)
►
December
(22)
►
November
(79)
▼
October
(131)
Love and a woman's will in Hyde Park
Male constancy
Domestic tyranny
Tokens: The Money of "Love"
Spaces, Races and Give Up the Chases
The Love Gamble
Real Men Don't Love
A Horse by Another Name
“I do not like myself.” (V.I)
1.) How can we compare the romantic dynamic betwe...
There's little euphemism about talking of maidenhe...
Hyde Park and the Blazon as Vitriol
Hyde Park and Letter-writing
Liberty
Trier, Julietta, and Lord Bonvile
Prose departure?
Repetition and Service in 'Hyde Park'
"I'll take the Irish"
songs and singing
Questions of Character
empty rhetoric and false words
Fashion & Bodies; Pleasure & Nobility
"A question most untoothsome."
Mistress Jeer-all in the Park
Carol tries to guess the "one boon at parting"; or...
"A monkey, squirrel and a brace of islands" (not t...
Getting Lucky in Hyde Park
Nervous Ghosts and a Post-It Note God
Green Space, Wager's, and Bodies as Evidence
Words by which to Live and Die
Cymbeline
Cymbeline II
Cymbeline I
Confusion and Discomfort in Cymbeline
Nature vs. Nurture, and Who's Play is This, Anyway?
"Render to me some corporal sign"--unless, of cour...
Nationalism and Male Desire in Cymbeline
Life in the mountains - "a cell of ignorance"?
How is the fragile separation between reality and ...
Thanks Jupiter, you're the greatest!
Is Shakespeare kidding?
Poly-Olbion
"Wherein I am false I am honest: not true, to be t...
"With that suit upon my back will I ravish her" (I...
By Jove?
A Royal Nature and The Unknowable Woman
"go so[x]" -3.2.70
Cymbeline's Model of Kingship
Dismemberment, Tapestries, Diana, and Imogen
With his own sword... I have ta'en / His head from...
Describing a "New" relationship
Frontispiece from "A King and No King," 1619
Men and wars
Capitalism and Masculinity in "A King and No King;...
Rumor and Inconstancy in Philaster and A King and ...
Rumors and Comic Truth in Beaumont and Fletcher
Philaster
Expressing the Self
Natural Setting in "Philaster"
To The Letter
The Value of Fidelity
Parallel Characters in Philaster and A King and No...
Kings who don't know the rules...
What is the difference between how legitimate auth...
PhilasterWhat are we to make of the strange threes...
"A King and No King"
My large coarse issue!
Lacking Logic
Beaumont and Fletcher
Tragi-Comedy
The Citizenry in A King and No King / The Confessi...
Morality and Religion in A King and No King and Ph...
A plague upon these sharp-toed shoes!
Gendered Citizenship in Philaster and A King and N...
Canst thou know grief, and never yet knew'st love?
Rack 'em up, stack 'em up...
A Most strage and true discourse of the wonderfull...
Fun With Images
Putana's Punishment in 'Tis Pity
Madness in The Changeling
What should we make of the dramatic difference bet...
State Conquers All
“Made Myself Poor of Secrets” ('Tis Pity, 1.1.15)
Mad About You
The Changeling
'Tis Pity She's a Whore
Comedic Elements in 2 Tragedies
"My thoughts are at banquet for the deed"
A fallen woman and a born again virgin?
Questions of Romantic Love
Parallel Plots and Ironic Contradictions
I Love You More than Parmesan
'Tis Pity She's a Changeling
The Changeling...er, beauty and the beast?
Verbatim Quotation
Compulsion vs. Changebility in "The Changeling," a...
Revenge as the "strange miracle of justice" in 'Ti...
Money from Madmen in The Changeling
The One Left Alive in "'Tis A Pity She's a Whore" ...
Sex as Currency and Commodity in "The Changeling"
►
September
(55)
Contributors
AG
Adam Z.
AimeeRocks
Brian Auger
C Jones
Greg Sargent
Heather P.
Holly Leaning
JessL
John Y.
Meg I.
Meghan Conine
Nate Leonard
Sarah Finn
Sarah Redmond
Scooter Werner
Stephanie Ganatta
Tarquin Tar
Tim Zajac
Victoria Worth
shksprdish
No comments:
Post a Comment