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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... romantic - courtship stories . The formula was derived by the fourth century gram- marian Donatus from his study of Terence and ceaselessly re- peated and revised by the humanist scholars of the Italian Shakespeare's New Comedy.
... romantic - courtship stories . The formula was derived by the fourth century gram- marian Donatus from his study of Terence and ceaselessly re- peated and revised by the humanist scholars of the Italian Shakespeare's New Comedy.
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... case for the part played by Falstaff in the emergence of a grand new comic pro- tagonist : no longer Bacchanalian trickster and rogue , but infi- nitely resourceful anti - ' romantic ' romantic heroine , SHAKESPEARE'S NEW COMEDY 17.
... case for the part played by Falstaff in the emergence of a grand new comic pro- tagonist : no longer Bacchanalian trickster and rogue , but infi- nitely resourceful anti - ' romantic ' romantic heroine , SHAKESPEARE'S NEW COMEDY 17.
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Ruth Nevo. nitely resourceful anti - ' romantic ' romantic heroine , possessed of an ironic wit and exhibiting the ' higher folly ' of an individual , differentiated inner life.20 The three masterpieces which follow : Much Ado , As You ...
Ruth Nevo. nitely resourceful anti - ' romantic ' romantic heroine , possessed of an ironic wit and exhibiting the ' higher folly ' of an individual , differentiated inner life.20 The three masterpieces which follow : Much Ado , As You ...
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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