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 8
Ruth Nevo. \obvious and obtrusive the sense of play, of accepting the rules ofa game, is at its strongest. . . . The ... play's coherence. Since, as has been noted, the protagonists are themselves seekers, and only partly, or not at all ...
Ruth Nevo. \obvious and obtrusive the sense of play, of accepting the rules ofa game, is at its strongest. . . . The ... play's coherence. Since, as has been noted, the protagonists are themselves seekers, and only partly, or not at all ...
Pagina 10
... play's beginning, they provide the audience with means for a full and final retrospective intelligence of the nature ... play, and to move, in the words of Paul Ricoeur, 'from what it says to that of which it speaks'. '3 The power of ...
... play's beginning, they provide the audience with means for a full and final retrospective intelligence of the nature ... play, and to move, in the words of Paul Ricoeur, 'from what it says to that of which it speaks'. '3 The power of ...
Pagina 17
... play I also take up the problem of the scapegoat figure which I believe is alien to Shakespeare's comic genius. That 'scapegoating' as it has come to be called in some of the newer criticism” is essentially tragic — drawing all a play's ...
... play I also take up the problem of the scapegoat figure which I believe is alien to Shakespeare's comic genius. That 'scapegoating' as it has come to be called in some of the newer criticism” is essentially tragic — drawing all a play's ...
Pagina 26
Je hebt de weergavelimiet voor dit boek bereikt.
Je hebt de weergavelimiet voor dit boek bereikt.
Pagina 28
Je hebt de weergavelimiet voor dit boek bereikt.
Je hebt de weergavelimiet voor dit boek bereikt.
Inhoudsopgave
1 | |
II My glass and not
my brother | 22 |
III Kate of Kate Hall
| 37 |
IV The Two Gentlemen of Verona | 53 |
V Navarres world of words | 69 |
VI Fancys images
| 96 |
VII Jessicas monkey or The Goodwins | 115 |
VIII The case of Falstaff and the Merry Wives | 142 |
IX Better than reportingly
| 162 |
X Existence in Arden | 180 |
XI Natures bias
| 200 |
XII Comic remedies
| 216 |
Scanning a Shakespeare play | 228 |
Selective bibliographical
note | 233 |
Index | 237 |
Overige edities - Alles bekijken
Veelvoorkomende woorden en zinsdelen
Alazon Antipholus Antonio Armado audience Bassanio Beatrice and Benedick Belmont Berowne Berowne’s characters Claudio Comedy of Errors comic device comic disposition comic pleasure courtly courtly love daughter Demetrius dialectic disguise doth double dramatic Duke early comedies effect Eiron eyes Falstaff fantasy father Festive flesh flight folly fool Ganymede Gentlemen hath heart Helena Hermia identities Illyria imagination invited ironic Jaques Julia Kate King’s knot of errors ladies London Love’s Labour’s Lost lovers Malvolio marriage mask matter Merry Wives Methuen Midsummer Night’s Dream mind mock mockery nature Olivia Orlando Orsino parody passion perceive Petruchio play play’s plot protagonists Proteus reflects remedy role romantic romantic love Rosalind says scene Shakespeare Our Contemporary Shakespeare’s Comedy Shrew Shylock Silvia speak speare’s speech spirit Terentian thee Theseus thou tion transformed Twelfth Night twins unmasking Valentine Valentine’s Viola wisdom witty young