Comic Transformations in ShakespeareRoutledge, 11 okt 2013 - 256 pagina's First published in 1980. In this study of Shakespeare's ten early comedies, from The Comedy of Errors to Twelfth Night, the concept of a dynamic of comic form is developed; the Falstaff plays are seen as a watershed, and the emergence of new comic protagonists - the resourceful, anti-romantic romantic heroine and the Fool - as the summit of the achievement. The plays are explored from three complementary perspectives - theoretical, developmental and interpretative which lead to a further understanding of the powerful relation between the plays' formal complexity and their naturalistic verisimilitude. |
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Pagina 7
... audience . This is a major heuristic technique in all of Shake- speare's plays , but in the comedies particular profit is derived from the close co - ordination between the audience's knowledge and the character's ignorance and from an ...
... audience . This is a major heuristic technique in all of Shake- speare's plays , but in the comedies particular profit is derived from the close co - ordination between the audience's knowledge and the character's ignorance and from an ...
Pagina 8
... audience's perception of the play's coherence . Since , as has been noted , the protagonists are themselves seekers , and only partly , or not at all cognizant of what ... audience sees . The audience 8 COMIC TRANSFORMATIONS IN SHAKESPEARE.
... audience's perception of the play's coherence . Since , as has been noted , the protagonists are themselves seekers , and only partly , or not at all cognizant of what ... audience sees . The audience 8 COMIC TRANSFORMATIONS IN SHAKESPEARE.
Pagina 9
Ruth Nevo. course coincide with what the audience sees . The audience has more material to unify , to knit into coherence , than any single character . But the approach of the protagonists ' knowledge to the level of the audience's at ...
Ruth Nevo. course coincide with what the audience sees . The audience has more material to unify , to knit into coherence , than any single character . But the approach of the protagonists ' knowledge to the level of the audience's at ...
Pagina 10
... audience with means for a full and final retrospective intelligence of the nature , in all its inwardness , of the desirable , the pleasurable , the good , the absence of which motivated the story . They enable us to transcend , if we ...
... audience with means for a full and final retrospective intelligence of the nature , in all its inwardness , of the desirable , the pleasurable , the good , the absence of which motivated the story . They enable us to transcend , if we ...
Pagina 15
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Inhoudsopgave
1 | |
My glass and not my brother | 22 |
Kate of Kate Hall | 37 |
The Two Gentlemen of Verona | 53 |
Navarres world of words | 69 |
Fancys images | 96 |
Jessicas monkey or The Goodwins | 115 |
The case of Falstaff and the Merry Wives | 142 |
Overige edities - Alles bekijken
Veelvoorkomende woorden en zinsdelen
appears audience Beatrice beauty becomes believe Benedick Berowne better brings called characters comedy comic device criticism daughter desire difference disguise double dream early effect Elizabethan errors eyes face fall Falstaff father figure final folly fool function further Gentlemen gives hand hath heart human identities imagination interest invited ironic ladies later least less living London Lost lovers marks marriage matter means Merry mind mock nature never Night noted Olivia once passion perceive play play's pleasure plot possession possible present protagonists Proteus prove provides question reason remedy René Girard reversal rhetoric role Rosalind says scene sense Shakespeare's Shylock speak speech spirit story structure surely taken tells thee thing thou tion transformation true turn twins University Press whole Wives York young