Search Results for sebastian

...Arthur Brown Copyright © 1951 by Duke University Press 1951 A NOTE ON SEBASTIAN WESTCOTT AND THE PLAYS PRESENTED BY THE CHILDREN OF PAUL’S By ARTHURBROWN An article by James Paul Brawner in 1943 discusses some of the plays presented...

...Dabney Stuart Copyright © 1968 by Duke University Press 1968 THE REAL LIFE OF SEBASTIAN KNIGHT ANGLES OF PERCEPTION By DABNEYSTUART Vladimir Nabokov’s novel The Real Life of Sebastian Knight is both a game...

...K. A. Bruffee Copyright © 1973 by Duke University Press 1973 FORM AND MEANING IN NABOKOV’S REAL LIFE OF SEBASTIAN KNIGHT AN EXAMPLE OF ELEGIAC ROMANCE By K. A. BRUFFEE The Real Lzfe ofsebastian Knight is one...

...Edwin H. Zeydel © 1943 University of Washington 1943 JOHANNES A LAPIDE AaND SEBASTIAN BRANT By EDWINH. ZEYDEL In 1475 Sebastian Brant, then seventeen years of age, left his native Strassburg to matriculate in the “ArtistenfakultW of the recently...

...James Paul Brawner Copyright © 1943 by Duke University Press 1943 EARLY CLASSICAL NARRATIVE PLAYS BY SEBASTIAN WESTCOTT AND RICHARD MULCASTER By JAMES PAULBRAWNER The decade of the 1570’s was not only a period...

... detail is sometimes sacrificed to more pressing immediate effects. The contradictory double time scheme in Twelfth Night is, as a consequence, neither very noticeable nor very important. It hardly matters that Sebastian and Viola collide spatially when they are temporally almost three months...

... that it is not her lover who has been killed. In Brideshead there are happy recollections of the earlier Waugh in the portrayal of Charles Ryder’s father during Charles’s holidays from Oxford. These awkward days before Charles and Sebastian Flyte leave for Venice are appealing because they are reminiscent...

... sometimes call upon speech for its supe- rior power to transport. In very different ways, both Ferdinand and Sebastian are “moved” or “transported” by speech. Interrupting the masque in a way that recalls his repeated self-interruptions when conversing with Miranda, his interruption...

... Have wak’d their sleepers, op’d, and let ’em forth Hy my so potent Art. (V.i.41-50) The countercharm of “heavenly music” (52) is needed to dissolve the charm of these dreams. And it is not only Gonzalo, Sebastian, Antonio, and the rest who are to be “spell-stopp’d” (61...

... to be nat- ural connections. The two Sebastian-Antonio scenes in Twelfth Night are not to be linked, because one is a true duet while the other is a two-part scene with Antonio remaining on stage after Sebastian’s exit to give a brief solilo- quy. When we learn that Hirsh’s duet category contains...

... for others. At the end of Act I I I of The Cherry Orchard, almost diagrammatically, Lopakhin, laughing, announces his purchase of the estate while Mrs. Kanevsky weeps. In Twelfth Night Olivia’s betrothal to Sebastian produces happy marriages for all of the lovers, but broken heads for Sir Toby...

... on common func- tions does call into question the value of these classifications as critical tools. More than that, they sometimes actually obscure what would seem to be nat- ural connections. The two Sebastian-Antonio scenes in Twelfth Night are not to be linked, because one is a true duet while...

... and Rudyard Kipling’s Kim .” In “New Religious Movements and Secularization,” part 1, edited by LaPorte Charles and Lecourt Sebastian . Special issue, Nineteenth-Century Literature 73 , no. 2 : 227 – 59 . LaPorte Charles . 2019 . “ Postsecular English Studies and Romantic Cults...

... to thrones depicted by historical nov- elists are Perkin Warbeck, Sebastian of Portugal, the false Dmitris of Russia, the Duke of Monmouth, the Young Pretender Charles Edward, Pugachev, the Duchess of Berry (acting on behalf of the pretended Henry V of France...

... for Stephano. Bride, daughter, and mother form a gamut of arbitrary choices for him as relations to his bodv and its instincts. Sebastian, on the other hand, is happy to have left behind (as he be- lieves) the domain of the play-spirit. In its earliest and most innocent appearance, this spirit...

..., “What cares these roarers for the name of king?” he shouts, and then angrily challenges old Gonzalo to try his authority on the elements. Once ashore the conflict deepens between order and disorder, vir- tue and vice. Caliban’s rowdy 6meute is the analogue of the Antonio- Sebastian...

... Sebastian Franck,21Johann Hartlieb,22Ludwig Hohenwang,28Geory Michael Lingel~heirnLau t er bec k,26 Michael Lindener,26 Christo p h W irsung.27 Luther as translator of the Bible and Bible translations in gen- eral always play an important r6le in German...

... Sebastian [p. 1861; in both, puns are lavishly employed and in rather euphuistic structures of style. Moore’s judgment that “increased regard for naturalness justifies both his and Shakespeare’s ARTHUR W. HOFFMAN 499 use of puns in these passages...

... . . . a pagan St. Sebastian” (p. 127); “Novalis’ Hymns to Night.. . at least as close to D. H. Lawrence as to Mechthild von Magdeburg” (p. 192); Humboldt’s Greek heroes “both aspiring and fulfilled: they have the romantic virtues as well as the classic. All this and Heaven too!” (p. 207...

... was aware of the antagonism between Platonic idealism and aestheti- cism. Witness his sketch “Sebastian Van Storck” in Imaginary Portraits (New York, 1894), p. 127, where the Platonist Van Storck is thus described: “For Sebastian at least, the world and the individual alike had been divested...