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<dc:title xml:lang="pl"><![CDATA[Charles Williams as a Shakespearean critic in the age of modernism]]></dc:title>
<dc:creator><![CDATA[Cotterill, Rowland]]></dc:creator>
<dc:subject xml:lang="pl"><![CDATA[poetry]]></dc:subject>
<dc:subject xml:lang="pl"><![CDATA[divisions]]></dc:subject>
<dc:subject xml:lang="pl"><![CDATA[change]]></dc:subject>
<dc:subject xml:lang="pl"><![CDATA[solitude]]></dc:subject>
<dc:subject xml:lang="pl"><![CDATA[action]]></dc:subject>
<dc:description xml:lang="pl"><![CDATA[Charles Williams, known as novelist, poet, and member of the inter-war "Inklings" circle of writers, also contributed to Modernist critical debate, particularly in his writings on Shakespeare. He responded distinctively to contemporary critical emphases on "Elizabethan theatrical convention" and aesthetic and poetic autonomy.]]></dc:description>
<dc:description xml:lang="pl"><![CDATA[He re-asserted, against contemporary tendencies, the salience in Shakespearean drama of individual choice and sequential action. Stressing the power of Shakespearean poetry to register ambiguity and to embody divided consciousness, like William Empson, he also sought to balance claims about "character" with an emphasis on the poetic modes and energies whereby character and self-division come into existence.]]></dc:description>
<dc:description xml:lang="pl"><![CDATA[Williams found in Shakespeare`s oeuvre a development towards a sense, first fully present in "Troilus and Cressida", of "division in the nature of things". Such division, debated but philosophically unresolved in several plays, is expressed with unique force in tragic poetry which embodies the complex co-presence of disorientation, solitude, and a will to remedial but destructive action.]]></dc:description>
<dc:description xml:lang="pl"><![CDATA[Williams`s discussions here powerfully rework Aristotelean stipulations about the nature of tragedy in general. He saw a Shakespearean resolution of, or escape from, tragedy in the late Romances, and in the prelude to them, "Antony and Cleopatra", where "division" was reworked in terms of a poetic acceptance and enjoyment of the simultaneous multiplicity, and the possibilities for forgiveness, within human relationships.]]></dc:description>
<dc:publisher><![CDATA[Zielona Góra: Oficyna Wydawnicza Uniwersytetu Zielonogórskiego]]></dc:publisher>
<dc:contributor><![CDATA[Gołębiowska, Urszula - red. nauk.]]></dc:contributor>
<dc:contributor><![CDATA[Kubasiewicz, Mirosława - red. nauk.]]></dc:contributor>
<dc:date><![CDATA[2019]]></dc:date>
<dc:type xml:lang="pl"><![CDATA[rozdział w książce]]></dc:type>
<dc:format xml:lang="pl"><![CDATA[application/pdf]]></dc:format>
<dc:identifier><![CDATA[http://www.zbc.uz.zgora.pl/repozytorium/Content/78256/6_cotterill_charles.pdf]]></dc:identifier>
<dc:identifier><![CDATA[https://zbc.uz.zgora.pl/repozytorium/dlibra/publication/87580/edition/78256/content]]></dc:identifier>
<dc:identifier><![CDATA[oai:zbc.uz.zgora.pl:78256]]></dc:identifier>
<dc:source xml:lang="pl"><![CDATA[Zeszyty Naukowe Uniwersytetu Zielonogórskiego: Seria Scripta Humana, tom 14]]></dc:source>
<dc:language><![CDATA[eng]]></dc:language>
<dc:relation><![CDATA[oai:zbc.uz.zgora.pl:publication:87580]]></dc:relation>
<dc:rights xml:lang="pl"><![CDATA[Biblioteka Uniwersytetu Zielonogórskiego]]></dc:rights>
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