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 89
Strana 9
... marriage , and friendship , as well as family reunion ) , and " comedy of folly or clowning " ( including both wise folly , with its limitations as well as its comic pertinence , and foolish clowning , which can be an unwitting and ...
... marriage , and friendship , as well as family reunion ) , and " comedy of folly or clowning " ( including both wise folly , with its limitations as well as its comic pertinence , and foolish clowning , which can be an unwitting and ...
Strana 29
... courtship evidently fall within this category ; and in them marriage ( of more or less true minds , and contracted without external coercion ) is the core of the resolution and of its festive celebration ( AGON VERSUS COMEDY OF LOVE 29.
... courtship evidently fall within this category ; and in them marriage ( of more or less true minds , and contracted without external coercion ) is the core of the resolution and of its festive celebration ( AGON VERSUS COMEDY OF LOVE 29.
Strana 30
... marriage ( this is especially the case in The Taming of the 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 ...
... marriage ( this is especially the case in The Taming of the 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 ...
Strana 31
... marriage , and in the comedy of marriage by the social dimension of reconciliation ) , as social order is reestablished and — where the middle phases involve a retreat from society — a final return . c ) Everyday , nonsaturnalian ...
... marriage , and in the comedy of marriage by the social dimension of reconciliation ) , as social order is reestablished and — where the middle phases involve a retreat from society — a final return . c ) Everyday , nonsaturnalian ...
Strana 32
... — a romance metamorphosis — is out of the question , in spite of the license provided by the genre of comedy and the mode of romance . We cannot imagine , for instance , that Malvolio ( the upper servant who thinks of marriage 32 POETICS.
... — a romance metamorphosis — is out of the question , in spite of the license provided by the genre of comedy and the mode of romance . We cannot imagine , for instance , that Malvolio ( the upper servant who thinks of marriage 32 POETICS.
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 |