Shakespeare's Agonistic Comedy: Poetics, Analysis, CriticismFairleigh Dickinson Univ Press, 1993 - Počet stran: 302 In one respect, the purpose of this book is to define the characteristics and to map the canon of Shakespeare's agonistic comedy; in other words, to provide a poetics. Such a task has its own importance and preliminary value if fundamental patterns and functions have not been recognized as such in the critical analysis of a body of texts. Part I of Shakespeare's Agonistic Comedy identifies the structural characteristics of the provisionally outlined canon, focuses on apparently borderline cases (Petruchio and Katherina, Benedick and Beatrice, Jaques and Don John, as well as that of Love's Labour's Lost) in order to define the canon more precisely, defines the distinctive perspective generated by agonistic comedy, and examines the thematic and referential patterns that may appear prima facie to be characteristic of this comedy: violence and revenge. Throughout this section dealing with poetics, Beiner emphasizes that agonistic comedy is capable of being self-complete and independent and yet in Shakespearean comedy it never generates an entire play; nor does it appear in every play from Errors to Twelfth Night. A poetics of Shakespeare's agonistic comedy is necessarily related to the wider field of a poetics of Shakespearean comedy, which in turn is related to the even wider area of comic traditions. |
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Strana 12
... Shrew , with changes of focus in both and deliberate irony in the latter ) —for his own purposes and effects . At the same time , common denominators , within the canon and more generally within a tradition , do exist . This is ...
... Shrew , with changes of focus in both and deliberate irony in the latter ) —for his own purposes and effects . At the same time , common denominators , within the canon and more generally within a tradition , do exist . This is ...
Strana 17
... Shrew and Much Ado ) which are not ultimately agonistic — as my analysis indicates — may be read as if they were agons , and this too can lead to distortions . This study aims to clarify the issues by defining the agonistic strategy ...
... Shrew and Much Ado ) which are not ultimately agonistic — as my analysis indicates — may be read as if they were agons , and this too can lead to distortions . This study aims to clarify the issues by defining the agonistic strategy ...
Strana 27
... Shrew , whose metadramatic implications have been underrated . When a conventional comedy of love and a conventional agon are both inverted in relation to our initial expectations , the comedy can thereby explore the meaning of dramatic ...
... Shrew , whose metadramatic implications have been underrated . When a conventional comedy of love and a conventional agon are both inverted in relation to our initial expectations , the comedy can thereby explore the meaning of dramatic ...
Strana 30
... Shrew , which uses the con- tinuum in order to place courtship in an ironic perspective as a prelude to marriage ; arguably , we also find such a continuum in The Merchant of Venice , where Portia is transformed after her betrothal ...
... Shrew , which uses the con- tinuum in order to place courtship in an ironic perspective as a prelude to marriage ; arguably , we also find such a continuum in The Merchant of Venice , where Portia is transformed after her betrothal ...
Strana 31
... shrew - taming tradition , exemplified by the medieval French farce Le Cuvier and John Heywood's ( ? ) A Merry Play Between Johan Johan the Husbande , Tib His Wife , and Sir Johan the Preest ) . Both variants of the comedy of love ...
... shrew - taming tradition , exemplified by the medieval French farce Le Cuvier and John Heywood's ( ? ) A Merry Play Between Johan Johan the Husbande , Tib His Wife , and Sir Johan the Preest ) . Both variants of the comedy of love ...
Obsah
25 | |
Semiagon and the Comedy of Love Clarifying the Boundary | 54 |
The Agonistic Perspective ReaderSpectator Response | 77 |
Violence in the Comedy of Love Errors to Twelfth Night Referential and Thematic Patterns | 88 |
Comic Revenge and Agons Referential and Thematic Patterns Continued | 118 |
The Major Texts | 137 |
The Merry Wives of Windsor | 139 |
The Merchant of Venice | 164 |
Twelfth Night | 199 |
Notes | 229 |
Bibliography | 278 |
288 | |
Běžně se vyskytující výrazy a sousloví
agon agonistic alazon antagonist antisemitic Antonio attitude audience basic Bassanio becomes behavior Belmont Cesario characters Christian comedy of courtship comedy of errors comedy of love comedy of marriage comic action comic clarification comic control comic perspective comic punishment comic resolution comic revenge comic strategy confrontation connected contrast conventional Coppélia created critical defeat distinction dramatic Dream Duke effect eironic Falstaff Feste's festive fiction final fortune friendship function genre goal human husband Illyria indicates initial involving Jessica kind least literary Love's Labour's Lost lovers Malvolio manipulation Merchant of Venice Merry Wives metadramatic miles gloriosus negative norm obstruction Olivia Orsino pattern perspective of folly Petruchio play plot level poetics Portia problem problem comedies punitive qualifications ridiculous romance saturnalian says scene semi-agons sense Shakespeare's Shakespearean comedy Shrew Shylock social specific structure threat Toby tradition tragedy tragic Twelfth Night unfolds University Press values vindictive Viola violence well-being young
Odkazy na tuto knihu
A Concept of Dramatic Genre and the Comedy of a New Type: Chess, Literature ... V. Ulea Náhled není k dispozici. - 2002 |