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. |
Vanuit het boek
Resultaten 1-5 van 43
Pagina 1
... plots , which serves as model for a multitude of variations ; and the battle of the sexes which constitutes the underlying motivation of his variegated romantic - courtship stories . The formula was derived by the fourth century gram ...
... plots , which serves as model for a multitude of variations ; and the battle of the sexes which constitutes the underlying motivation of his variegated romantic - courtship stories . The formula was derived by the fourth century gram ...
Pagina 2
... plot is the finding - discovery or recovery - of what was missing , that is , imperfect , at the start . I borrow the metaphysical term from Northrop Frye who , in a fine article , distinguishes between ' the teleological plots ' of the ...
... plot is the finding - discovery or recovery - of what was missing , that is , imperfect , at the start . I borrow the metaphysical term from Northrop Frye who , in a fine article , distinguishes between ' the teleological plots ' of the ...
Pagina 3
... plots from The Comedy of Errors to The Tempest . It is worth remarking at this point that the distinction between ' plot ' and ' story ' ( roughly equivalent to the Formalist distinction between ' sjuzet ' and ' fabula ' ) was ...
... plots from The Comedy of Errors to The Tempest . It is worth remarking at this point that the distinction between ' plot ' and ' story ' ( roughly equivalent to the Formalist distinction between ' sjuzet ' and ' fabula ' ) was ...
Pagina 4
... plots as such , whether in their original form of drama or in the later development of romance narrative . The Tempest is a palimpsest of Plautus ' The Rope , which starts with a description of a tempest and has a prologue in which ...
... plots as such , whether in their original form of drama or in the later development of romance narrative . The Tempest is a palimpsest of Plautus ' The Rope , which starts with a description of a tempest and has a prologue in which ...
Pagina 6
... 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 what they ... plot . 6 COMIC TRANSFORMATIONS IN SHAKESPEARE.
... 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 what they ... plot . 6 COMIC TRANSFORMATIONS IN SHAKESPEARE.
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