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. |
Vyhledávání v knize
Výsledky 1-5 z 86
Strana 10
... defined area , while others may have been brought in ) . Since the initial canon is chosen , at least provisionally , before a comprehensive definition can be given , and the definition is certainly a function of 10 PREFACE.
... defined area , while others may have been brought in ) . Since the initial canon is chosen , at least provisionally , before a comprehensive definition can be given , and the definition is certainly a function of 10 PREFACE.
Strana 12
... least somewhat with the addition of new member texts , and sometimes the changes can be drastic.4 Shakespearean comedy is not identical with Menandrine or Plautine or Terentian or Italian Renaissance comedy ( let alone with Aristophanic ...
... least somewhat with the addition of new member texts , and sometimes the changes can be drastic.4 Shakespearean comedy is not identical with Menandrine or Plautine or Terentian or Italian Renaissance comedy ( let alone with Aristophanic ...
Strana 15
... least when one senses that certain areas have received ample attention and could be left alone for a while ) . Ultimately and ideally , a poetics will include all the axes of inter- relationship in which texts are involved ( literary ...
... least when one senses that certain areas have received ample attention and could be left alone for a while ) . Ultimately and ideally , a poetics will include all the axes of inter- relationship in which texts are involved ( literary ...
Strana 25
... least in terms of essential structure , though obviously not of style ( Victorians may have found some of Shakespeare's bawdy impolite , but it is very restrained compared to Aristophanes ' flamboyantly carnivalesque scatological and ...
... least in terms of essential structure , though obviously not of style ( Victorians may have found some of Shakespeare's bawdy impolite , but it is very restrained compared to Aristophanes ' flamboyantly carnivalesque scatological and ...
Strana 30
... least one plot level from this group , and a multiple plot16 in which such a plot level provides the funda- mental informing trajectory ( from initial problems to a final resolution ) and the fundamental comic values . Whichever comedy ...
... least one plot level from this group , and a multiple plot16 in which such a plot level provides the funda- mental informing trajectory ( from initial problems to a final resolution ) and the fundamental comic values . Whichever comedy ...
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 |