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 59
Strana 16
... manipulated evidence , how right all the imported ideas are . The latter faces the danger of not making any serious scientific contribution to psychology , while renouncing his professional investigative responsibility in his own field ...
... manipulated evidence , how right all the imported ideas are . The latter faces the danger of not making any serious scientific contribution to psychology , while renouncing his professional investigative responsibility in his own field ...
Strana 17
... manipulation as opposed to changes in the attitudes of characters , and with the function and importance of violence ( and its specific manifestation in revenge ) . It guides every aspect of the pro- gressive and cumulative perspective ...
... manipulation as opposed to changes in the attitudes of characters , and with the function and importance of violence ( and its specific manifestation in revenge ) . It guides every aspect of the pro- gressive and cumulative perspective ...
Strana 32
... manipulation , comic fortune , and other instances of comic control ) , so that the final resolution can take place . With the exception of Love's Labour's Lost , imperfection is not allowed to prevent a happy end in the comedy of love ...
... manipulation , comic fortune , and other instances of comic control ) , so that the final resolution can take place . With the exception of Love's Labour's Lost , imperfection is not allowed to prevent a happy end in the comedy of love ...
Strana 37
... manipulation and fortune manage their affairs for them , in such a way that the final achievement of what is desired poses no challenge to accepted mores , just as it does not disrupt social order . The agonistic plots are guided by the ...
... manipulation and fortune manage their affairs for them , in such a way that the final achievement of what is desired poses no challenge to accepted mores , just as it does not disrupt social order . The agonistic plots are guided by the ...
Strana 38
... manipulation ; and in contrast to confrontations in comedy of love ( courtship or marriage ) manipulation is not intended to correct but to punish . We are dealing here with a factor which tends to appear more in one kind of comedy of ...
... manipulation ; and in contrast to confrontations in comedy of love ( courtship or marriage ) manipulation is not intended to correct but to punish . We are dealing here with a factor which tends to appear more in one kind of comedy of ...
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 |