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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Alexander Leggatt. NOTES. ON. CONTRIBUTORS. CATHERINE BATES is Senior Lecturer in the Department of English and ... inThe OxfordIllustrated HistoryofTheatre (reprinted 1997) and numerous studies of Renaissance comparative literature ...
Alexander Leggatt. NOTES. ON. CONTRIBUTORS. CATHERINE BATES is Senior Lecturer in the Department of English and ... inThe OxfordIllustrated HistoryofTheatre (reprinted 1997) and numerous studies of Renaissance comparative literature ...
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... inthe Shakespeare section ofa bookstore or library, a variety of texts. The exception, to ensure thatweare inconstant about our inconsistency, isthat the spelling ofcharacters' names conforms to the Riverside edition,the one most ...
... inthe Shakespeare section ofa bookstore or library, a variety of texts. The exception, to ensure thatweare inconstant about our inconsistency, isthat the spelling ofcharacters' names conforms to the Riverside edition,the one most ...
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... in The Poetics itself. Any discussion of theories of comedy in the Renaissance will inevitably emphasize the importanceofthese resources insixteenthcentury discussions of the issue. This approach runs certain risks: therewere, after all ...
... in The Poetics itself. Any discussion of theories of comedy in the Renaissance will inevitably emphasize the importanceofthese resources insixteenthcentury discussions of the issue. This approach runs certain risks: therewere, after all ...
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... in the classical world, and then consider theRenaissance elaborations of these ideasin the early years of the sixteenth century andinthe period following the reemergenceof Aristotle's arguments. What will become clear in surveying this ...
... in the classical world, and then consider theRenaissance elaborations of these ideasin the early years of the sixteenth century andinthe period following the reemergenceof Aristotle's arguments. What will become clear in surveying this ...
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... inThe Parts of Animals, that “no animal but man ever laughs.”7 Rabelais recalls these words at the beginning of Gargantua; theywere also frequently cited in sixteenthcentury medical texts.8 Aristotle's argument is physiological ...
... inThe Parts of Animals, that “no animal but man ever laughs.”7 Rabelais recalls these words at the beginning of Gargantua; theywere also frequently cited in sixteenthcentury medical texts.8 Aristotle's argument is physiological ...
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 | |
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