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 5
... courtly branch of romance . The romance of courtship , medieval in its first impulse , had recently been trimmed and spruced up , Peele'd , Greene'd , Lylyfied and Euphuized , and had made a new and elegant début in the theatre . It is ...
... courtly branch of romance . The romance of courtship , medieval in its first impulse , had recently been trimmed and spruced up , Peele'd , Greene'd , Lylyfied and Euphuized , and had made a new and elegant début in the theatre . It is ...
Pagina 6
... courtly form.7 The telos of Shakespeare's early comic plots then is recovery : the finding of what was missing or lacking at the start . And here the first great novelty is at once apparent - Shakespeare's pro- tagonists do not know ...
... courtly form.7 The telos of Shakespeare's early comic plots then is recovery : the finding of what was missing or lacking at the start . And here the first great novelty is at once apparent - Shakespeare's pro- tagonists do not know ...
Pagina 54
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Pagina 62
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Pagina 72
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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