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 11
... mask , illusion and imposture are the dubieties out of which a profoundly ironic intelligence generates its ironies , the world of the theatre and the theatre of the world reflecting each other in manifold ways . By dissonance and by ...
... mask , illusion and imposture are the dubieties out of which a profoundly ironic intelligence generates its ironies , the world of the theatre and the theatre of the world reflecting each other in manifold ways . By dissonance and by ...
Pagina 13
... masks true wisdom by pretending to be a fool in order to expose the mock wisdom of wisdom's ape . All ' humours ... mask- ing and unmasking , resembling nothing so much as the antics performed , modern mythology tells us , by their ...
... masks true wisdom by pretending to be a fool in order to expose the mock wisdom of wisdom's ape . All ' humours ... mask- ing and unmasking , resembling nothing so much as the antics performed , modern mythology tells us , by their ...
Pagina 42
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Pagina 92
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Pagina 123
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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