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 2
... a form which joins the severed halves of Frye's dichotomy . But the distinction neatly emphasizes the concrete goal or aim towards which the protagonists of New Comedy consciously direct them- selves 2 COMIC TRANSFORMATIONS IN SHAKESPEARE.
... a form which joins the severed halves of Frye's dichotomy . But the distinction neatly emphasizes the concrete goal or aim towards which the protagonists of New Comedy consciously direct them- selves 2 COMIC TRANSFORMATIONS IN SHAKESPEARE.
Pagina 3
... protagonists , but in excess of them . They get more , and better , than they bargained for , and this on account of a series of fortunate coinci- dences and discoveries : lost foundlings , wrecks , rings , caskets , birthmarks , in ...
... protagonists , but in excess of them . They get more , and better , than they bargained for , and this on account of a series of fortunate coinci- dences and discoveries : lost foundlings , wrecks , rings , caskets , birthmarks , in ...
Pagina 6
... protagonists are engaged in finding their place in the world , and in placing what they find in a hierarchy of values . Rightly to be placed and rightly to place – oneself and others - engrosses a good deal of their attention and ...
... protagonists are engaged in finding their place in the world , and in placing what they find in a hierarchy of values . Rightly to be placed and rightly to place – oneself and others - engrosses a good deal of their attention and ...
Pagina 8
... protagonists are themselves seekers , and only partly , or not at all cognizant of what they seek , the formal ... protagonists ' eyes in terms of whatever mistaken identity or reunion is now disclosed , and from the audience's in terms ...
... protagonists are themselves seekers , and only partly , or not at all cognizant of what they seek , the formal ... protagonists ' eyes in terms of whatever mistaken identity or reunion is now disclosed , and from the audience's in terms ...
Pagina 9
... protagonists ' knowledge to the level of the audience's at the end of the play is what gives the recognitions of the dénouement their telling effect . And it is one of the marks of the progressive Shakespearean mastery of dramatic ...
... protagonists ' knowledge to the level of the audience's at the end of the play is what gives the recognitions of the dénouement their telling effect . And it is one of the marks of the progressive Shakespearean mastery of dramatic ...
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