Comic Transformations in ShakespeareRoutledge, 11/10/2013 - 256 páginas First published in 1980. In this study of Shakespeare's ten early comedies, from The Comedy of Errors to Twelfth Night, the concept of a dynamic of comic form is developed; the Falstaff plays are seen as a watershed, and the emergence of new comic protagonists - the resourceful, anti-romantic romantic heroine and the Fool - as the summit of the achievement. The plays are explored from three complementary perspectives - theoretical, developmental and interpretative which lead to a further understanding of the powerful relation between the plays' formal complexity and their naturalistic verisimilitude. |
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... Falstaff and the Merry Wives 142 IX ' Better than reportingly ' 162 X Existence in Arden 180 XI Nature's bias 200 XII Comic remedies 216 Appendix : Scanning a Shakespeare play 228 Selective bibliographical note 233 Index 237 ...
... Falstaff and the Merry Wives 142 IX ' Better than reportingly ' 162 X Existence in Arden 180 XI Nature's bias 200 XII Comic remedies 216 Appendix : Scanning a Shakespeare play 228 Selective bibliographical note 233 Index 237 ...
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... Falstaff and to the question raised by that fat knight , who is composite Buffoon , Alazon and Eiron . What does his Folly enact ? What do his comic energies nourish and foster ? Having more flesh than another man he has therefore more ...
... Falstaff and to the question raised by that fat knight , who is composite Buffoon , Alazon and Eiron . What does his Folly enact ? What do his comic energies nourish and foster ? Having more flesh than another man he has therefore more ...
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... Falstaff's Hallowe'en Spring . Against Bakhtin's radical medievalism ( reminiscent of Victor Hugo's preface to ... Falstaff is certainly a very Prince of Libido and of mock- ery . Both these caps fit , though one fits Falstaff as object ...
... Falstaff's Hallowe'en Spring . Against Bakhtin's radical medievalism ( reminiscent of Victor Hugo's preface to ... Falstaff is certainly a very Prince of Libido and of mock- ery . Both these caps fit , though one fits Falstaff as object ...
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Ruth Nevo. counter - gulling of Falstaff , thus emotionally having its libidinous , disinhibitory cake and eating it with a good moral conscience . The theatre audience rejoices in the actor's histrionic skill , in the fictive Falstaff's ...
Ruth Nevo. counter - gulling of Falstaff , thus emotionally having its libidinous , disinhibitory cake and eating it with a good moral conscience . The theatre audience rejoices in the actor's histrionic skill , in the fictive Falstaff's ...
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... Falstaff plays as constituting a great watershed in the progress of Shakespeare's comedy . Of the first five comedies , the two early farces , The Comedy of Errors and The Shrew , the interesting but abortive Two Gentlemen of Verona and ...
... Falstaff plays as constituting a great watershed in the progress of Shakespeare's comedy . Of the first five comedies , the two early farces , The Comedy of Errors and The Shrew , the interesting but abortive Two Gentlemen of Verona and ...
Índice
1 | |
22 | |
Kate of Kate Hall | 37 |
The Two Gentlemen of Verona | 53 |
Navarres world of words | 69 |
Fancys images | 96 |
Jessicas monkey or The Goodwins | 115 |
The case of Falstaff and the Merry Wives | 142 |
Better than reportingly | 162 |
Existence in Arden | 180 |
Natures bias | 200 |
Comic remedies | 216 |
Scanning a Shakespeare play | 228 |
Selective bibliographical note | 233 |
Index | 237 |
Outras edições - Ver tudo
Palavras e frases frequentes
appears audience Beatrice beauty becomes believe Benedick Berowne better brings called characters comedy comic device criticism daughter desire difference disguise double dream early effect Elizabethan errors eyes face fall Falstaff father figure final folly fool function further Gentlemen gives hand hath heart human identities imagination interest invited ironic ladies later least less living London Lost lovers marks marriage matter means Merry mind mock nature never Night noted Olivia once passion perceive play play's pleasure plot possession possible present protagonists Proteus prove provides question reason remedy René Girard reversal rhetoric role Rosalind says scene sense Shakespeare's Shylock speak speech spirit story structure surely taken tells thee thing thou tion transformation true turn twins University Press whole Wives York young