The Cambridge Companion to Shakespearean ComedyAlexander Leggatt Cambridge University Press, 20/12/2001 - 256 páginas First published in 2001, this is an accessible, wide-ranging and informed introduction to Shakespeare's comedies and romances. Rather than taking each play in isolation, the chapters trace recurring issues, suggesting both the continuity and the variety of Shakespeare's practice and the creative use he made of the conventions he inherited. The first section puts Shakespeare in the context of classical and Renaissance comedy and comic theory, the work of his Elizabethan predecessors and the traditions of popular festivity. The second section traces a number of themes through Shakespeare's early and middle comedies, dark comedies and late romances, establishing the key features of his comedy as a whole and illuminating particular plays by close analysis. Individual chapters draw on contemporary politics, rhetoric, and the history of Shakespeare production. Written by experts in the relevant fields, the chapters frequently challenge long-standing critical assumptions. |
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... audience.We can see an equivalentplay ofsimilarity and difference ifwelook at the movie10 Things I Hate About You (1999,directed by Gil Junger),which transfers plot materialfrom The Taming oftheShrew into the worldof modern American ...
... audience.We can see an equivalentplay ofsimilarity and difference ifwelook at the movie10 Things I Hate About You (1999,directed by Gil Junger),which transfers plot materialfrom The Taming oftheShrew into the worldof modern American ...
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... narrative, in which “the character, themanner ofspeaking andallthe facial expressions of the hero ofyourtale, areso presented that these incidents seem to your audience to take place and to be transacted concurrently with.
... narrative, in which “the character, themanner ofspeaking andallthe facial expressions of the hero ofyourtale, areso presented that these incidents seem to your audience to take place and to be transacted concurrently with.
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Alexander Leggatt. audience to take place and to be transacted concurrently with your description of them”; and the technique of impersonation derived from “vulgar mimicry,” in which the orator must “borrow merely a suspicion of mimicry ...
Alexander Leggatt. audience to take place and to be transacted concurrently with your description of them”; and the technique of impersonation derived from “vulgar mimicry,” in which the orator must “borrow merely a suspicion of mimicry ...
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... audience”; theepitasis “the complication ofthe story, by excellence ofwhich itselements are intertwined”; and the catastrophe “the unravelling ofthe story, through which the outcome is demonstrated” (“On Comedy,” 47–48). Euanthius ...
... audience”; theepitasis “the complication ofthe story, by excellence ofwhich itselements are intertwined”; and the catastrophe “the unravelling ofthe story, through which the outcome is demonstrated” (“On Comedy,” 47–48). Euanthius ...
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... audience. Moreover, particularly in New Comedy theyhad evolved toward stock comic types. But the comic dramatist will avoid, as much as possible, directly engaging excesses of behavior which might underminethe stability andcoherence ...
... audience. Moreover, particularly in New Comedy theyhad evolved toward stock comic types. But the comic dramatist will avoid, as much as possible, directly engaging excesses of behavior which might underminethe stability andcoherence ...
Índice
Roman comedy | |
Italian stories on the stage | |
Elizabethan comedy | |
Forms of confusion | |
JOHN CREASER 7 Love andcourtship | |
Laughing at others | |
Comedy and | |
Language and comedy | |
Matters of state | |
ANTHONY MILLER 13 The experimentof romance | |
Select bibliography | |
Palavras e frases frequentes
action actor andthe Angelo Aristotle’s asthe atthe audience Barabas Benedick Berowne boy player bythe Caliban Cambridge Companion characters classical clown Comedy of Errors commedia confusion conventions court courtship crossdressed Cymbeline death disguise dramatic Duke edited Elizabethan England English Euanthius Falstaff Friar Ganymed gender genre Gentlemen Gentlemen of Verona heroines human identity inhis inthe Italian Jachimo Jonson language laughter literary London Love’s Labor’s Lost lovers Lyly Lyly’s Malvolio marriage Measure for Measure Merchant of Venice Merry Midsummer Night’s Dream moral narrative ofcomedy ofthe Olivia onthe Orlando Orsino’s Oxford pastoral performance Pericles Petruchio Plautus play play’s playwrights plot Posthumus Prospero Renaissance rhetorical role romance Rosalind scene sexual Shakespeare Shakespeare’s comedies Shakespeare’s comic Shrew Shylock social speech stage story Taming Tempest Terence theatre theatregrams theatrical theplay tobe tothe tradition tragedy Twelfth Night University Press Verona Viola Windsor Winter’s Tale withthe woman women words