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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Página 11
... mocking whom when the complacent Jaques mockingly exults at having met a fool in the forest ? It is a fool , at all events , whose foolish phil- osophy bears an uncanny resemblance to Jaques ' own nihilistic obsessions . The dramatic ...
... mocking whom when the complacent Jaques mockingly exults at having met a fool in the forest ? It is a fool , at all events , whose foolish phil- osophy bears an uncanny resemblance to Jaques ' own nihilistic obsessions . The dramatic ...
Página 12
... mock or burlesque theatre of the psyche , with Plato's charioteer as Eiron / Ego , his spirited part as Alazon / Superego and his appetitive part the buffoonish Bomolochos / Id . What the appellations mean we have a fair idea from other ...
... mock or burlesque theatre of the psyche , with Plato's charioteer as Eiron / Ego , his spirited part as Alazon / Superego and his appetitive part the buffoonish Bomolochos / Id . What the appellations mean we have a fair idea from other ...
Página 13
... mock wisdom of wisdom's ape . All ' humours ' , exces- ses , defects , fixations and compulsions are , of course , foolish from either a rational or an ethical point of view . But what distinguishes the archetypal threesome is that they ...
... mock wisdom of wisdom's ape . All ' humours ' , exces- ses , defects , fixations and compulsions are , of course , foolish from either a rational or an ethical point of view . But what distinguishes the archetypal threesome is that they ...
Página 14
... mocking Puck has for his com- plement the foolish and bossy Bottom , impostor - lover of a Fairy Queen ; Feste the wit complements the foolish Alazon Malvolio . If the complement of an ironic impostor like Sir Toby is a fool simple ...
... mocking Puck has for his com- plement the foolish and bossy Bottom , impostor - lover of a Fairy Queen ; Feste the wit complements the foolish Alazon Malvolio . If the complement of an ironic impostor like Sir Toby is a fool simple ...
Página 15
... mock- ery . Both these caps fit , though one fits Falstaff as object of derision , the other as subject . But what neither Castelvetro nor Bakhtin explains is precisely the duality , the doubleness , of comic pleasure when laughter , or ...
... mock- ery . Both these caps fit , though one fits Falstaff as object of derision , the other as subject . But what neither Castelvetro nor Bakhtin explains is precisely the duality , the doubleness , of comic pleasure when laughter , or ...
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 |
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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