Shakespeares Komödien aus der Sicht der pragmatischen KommunikationstheorieLIT Verlag Münster, 1998 - 200 頁 |
搜尋書籍內容
第 1 到 5 筆結果,共 33 筆
第 25 頁
... Olivia ignoriert den Retter und Freund ihres Ehemannes voll- kommen . Im folgenden analysiert McGuire verschiedene Inszenierungslö- sungen für das Problem von Antonios Schweigen . Regisseure lassen Antonio entweder in der allgemeinen ...
... Olivia ignoriert den Retter und Freund ihres Ehemannes voll- kommen . Im folgenden analysiert McGuire verschiedene Inszenierungslö- sungen für das Problem von Antonios Schweigen . Regisseure lassen Antonio entweder in der allgemeinen ...
第 31 頁
... Olivia von ihren Fra- gen abzulenken : MARIA Nay , either tell me where thou hast been , or I will not open my lips so wide as a bristle may enter , in way of thy excuse . My lady will hang thee for thy absence . FESTE Let her hang me ...
... Olivia von ihren Fra- gen abzulenken : MARIA Nay , either tell me where thou hast been , or I will not open my lips so wide as a bristle may enter , in way of thy excuse . My lady will hang thee for thy absence . FESTE Let her hang me ...
第 32 頁
... OLIVIA Go to , y'are a dry fool : I'll no more of you : besides , you grow dishonest . CLOWN Two faults , madonna , that drink and good counsel will amend : for give the dry fool drink , then is the fool not dry . Bid the dishonest man ...
... OLIVIA Go to , y'are a dry fool : I'll no more of you : besides , you grow dishonest . CLOWN Two faults , madonna , that drink and good counsel will amend : for give the dry fool drink , then is the fool not dry . Bid the dishonest man ...
第 33 頁
... eine Verletzung von Olivias Exklusivansprüchen an Festes Dienste darstellt und Olivia überdies ange- sichts von Orsinos erfolgloser Werbung unangenehm sein dürfte . VIOLA Art not thou the Lady Olivia's fool ? FESTE 33.
... eine Verletzung von Olivias Exklusivansprüchen an Festes Dienste darstellt und Olivia überdies ange- sichts von Orsinos erfolgloser Werbung unangenehm sein dürfte . VIOLA Art not thou the Lady Olivia's fool ? FESTE 33.
第 34 頁
... Olivia has no folly . She will keep no fool , sir , till she be married , and fools are as like husbands as pilchers are to herrings ; the husband's the bigger . I am indeed not her fool , but her corrupter of words . VIOLA I saw thee ...
... Olivia has no folly . She will keep no fool , sir , till she be married , and fools are as like husbands as pilchers are to herrings ; the husband's the bigger . I am indeed not her fool , but her corrupter of words . VIOLA I saw thee ...
內容
15 | |
37 | |
Interpunktion | 75 |
Digitale und analoge Kommunikation | 88 |
Symmetrische und komplementäre Kommunikationsstrukturen | 116 |
Zwischenmenschliche Systeme | 140 |
Paradoxien und double bind | 165 |
Zusammenfassung und Ausblick | 186 |
Literaturhinweis | 192 |
常見字詞
Aggressor Antonio Arbeit Aussagen Bassanio Bateson beiden Benedick und Beatrice bereits Berry besonders bewußt Bezie Beziehung Beziehungsebene Bottom Cesario Charaktere Claudio Comedy Demetrius Dialog digitale disconfirmation-Techniken Don John Don Pedro double bind Dramas Dramen Du-Definition Duke ersten Eskalation Feste folgenden fool Gespräch give good Grumio handelt hath Helena Hermia Hero Heros Hippolyta I.iii II.i III.i Interaktion IV.i Jessica Kapitel Katherine know Kommunikationstheorie komplementäre Komplementarität Konflikte Körpersprache lady läßt Leonato Lorenzo love Lysander make Malvolio McGuire Menschliche Kommunikation Merchant of Venice Metakommunikation Midsummer Night's Dream muß nonverbale Kommunikation Oberon Oliver Olivia Orlando Orsino Palo-Alto-Gruppe Paradoxien Partner Passage Paul Watzlawick Person Petruchio Phebe play Portia reagiert Reaktion Rosalind Schauspieler schen schließlich Shakespeare's Shakespeares Komödien Shrew Shylock Sir Andrew Sir Toby Sir Topas Situation soll speak Sprache stellt Struktur symmetrische Sympathielenkung Szene Taming thee Theseus think thou Titania Topas Touchstone Twelfth Night University Press Verhalten Viola Watzlawick zeigt Zeilen Zuschauer
熱門章節
第 65 頁 - Ah me! for aught that ever I could read. Could ever hear by tale or history, The course of true love never did run smooth: But, either it was different in blood; Her.
第 54 頁 - A woman moved is like a fountain troubled, Muddy, ill-seeming, thick, bereft of beauty; And while it is so, none so dry or thirsty Will deign to sip, or touch one drop of it.
第 177 頁 - A blank, my lord. She never told her love, But let concealment, like a worm i' the bud, Feed on her damask cheek: she pined in thought, And with a green and yellow melancholy She sat like patience on a monument, Smiling at grief.
第 139 頁 - If to do were as easy as to know what were good to do, chapels had been churches and poor men's cottages princes' palaces. It is a good divine that follows his own instructions : I can easier teach twenty what were good to be done, than be one of the twenty to follow mine own teaching.
第 112 頁 - Nay, take my life and all ; pardon not that : You take my house, when you do take the prop That doth sustain my house ; you take my life, When you do take the means whereby I live.
第 139 頁 - Though justice be thy plea, consider this, — That in the course of justice, none of us Should see salvation ; we do pray for mercy ; And that same prayer doth teach us all to render The deeds of mercy.
第 178 頁 - We men may say more, swear more, but indeed Our shows are more than will; for still we prove Much in our vows, but little in our love. DUKE. But died thy sister of her love, my boy? VIOLA. I am all the daughters of my father's house, And all the brothers too- and yet I know not.
第 125 頁 - Such duty as the subject owes the prince, Even such, a woman oweth to her husband : And, when she's froward, peevish, sullen, sour, And, not obedient to his honest will, What is she, but a foul contending rebel, And graceless traitor to her loving lord?