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 42
Strana 30
... removed , and the resolution does take place . This is the basic trajectory of the respective plots : from initial obstructions , via revealing complications and an exploration of problems ( which provides some clari- fication to ...
... removed , and the resolution does take place . This is the basic trajectory of the respective plots : from initial obstructions , via revealing complications and an exploration of problems ( which provides some clari- fication to ...
Strana 33
... removed as the agons end . The point I have made here is a dual one . On the one hand , in those plays where there is an agonistic level , the comedy of courtship is always dominant at the end ( whether it is already dominant earlier on ...
... removed as the agons end . The point I have made here is a dual one . On the one hand , in those plays where there is an agonistic level , the comedy of courtship is always dominant at the end ( whether it is already dominant earlier on ...
Strana 34
... removed and dangers are avoided , but the social system remains . The comedy of love ends in communal acceptance and social festivity , the agon in the exclusion of antisocial types . In both respects , society asserts itself even as it ...
... removed and dangers are avoided , but the social system remains . The comedy of love ends in communal acceptance and social festivity , the agon in the exclusion of antisocial types . In both respects , society asserts itself even as it ...
Strana 35
... removed , but no general solution is offered to the type of problem by reforming the system ( and referentially such a question was not a direct , urgent social issue in Shakespeare's England , where there was no Jewish community ) . We ...
... removed , but no general solution is offered to the type of problem by reforming the system ( and referentially such a question was not a direct , urgent social issue in Shakespeare's England , where there was no Jewish community ) . We ...
Strana 37
... removing error , saturnalia is instrumental in reaching that goal ) , but it is neither an effective nor a permanent alternative to morality ( as we see especially with such self - conscious exponents of festive release as Falstaff and ...
... removing error , saturnalia is instrumental in reaching that goal ) , but it is neither an effective nor a permanent alternative to morality ( as we see especially with such self - conscious exponents of festive release as Falstaff and ...
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 |