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 29
... positive festive resolution . It is also clear ( sooner or later in the different plays ) that the positive resolu- tion , 11 in which the comedy of love culminates ( with whatever qualifications ) , is the dominant end note for the ...
... positive festive resolution . It is also clear ( sooner or later in the different plays ) that the positive resolu- tion , 11 in which the comedy of love culminates ( with whatever qualifications ) , is the dominant end note for the ...
Strana 31
... positive values asserted in the play through such a plot . The positive assertion in the Shakespearean comic resolutions is centered , I suggest , on a combination of three informing criteria for values : a ) Individual well - being ...
... positive values asserted in the play through such a plot . The positive assertion in the Shakespearean comic resolutions is centered , I suggest , on a combination of three informing criteria for values : a ) Individual well - being ...
Strana 34
... positive ) values , presented in his fantastic comic utopias.21 Viewed as an extended political parabasis to the people of Athens in a time of dangerous crisis , the plays are animated by an urgent sense that an old / new " republic ...
... positive ) values , presented in his fantastic comic utopias.21 Viewed as an extended political parabasis to the people of Athens in a time of dangerous crisis , the plays are animated by an urgent sense that an old / new " republic ...
Strana 35
... positive than in Roman comedy ) .25 The difference between the beginning ( with its parental and social obstructions ) and the end ( where there is social acceptance and the overruling of remaining parental objections ) is generic ...
... positive than in Roman comedy ) .25 The difference between the beginning ( with its parental and social obstructions ) and the end ( where there is social acceptance and the overruling of remaining parental objections ) is generic ...
Strana 36
... positive counterpart : the indication of what Shakespearean comedy is concerned with . We shall return to this point later , to indicate the main concerns of Shakespearean comedy and the values it asserts . Our preliminary objective is ...
... positive counterpart : the indication of what Shakespearean comedy is concerned with . We shall return to this point later , to indicate the main concerns of Shakespearean comedy and the values it asserts . Our preliminary objective is ...
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 |