Shakespeare And ComedyBloomsbury Academic, 26 сент. 2005 г. - Всего страниц: 288 Comedy was at the centre of a critical storm that raged throughout the early modern period. Shakespeare's plays made capital of this controversy. In them he deliberately invokes the case against comedy made by the Elizabethan theatre haters. They are filled with jokes that go too far, laughter that hurts its victims, wordplay that turns to swordplay and aggressive acts of comic revenge. In a detailed study of seventeen plays, tragedies and histories as well as comedies, Maslen contends that Shakespeare's use of the comic mode is always calculatedly unsettling, and that this is part of what makes it pleasurable. |
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Стр. 85
... poet George Puttenham pointed out that the same tricks of language could have entirely differ- ent effects in different contexts : what was deadly in one place could be delightful in another . Speaking of the various rhetorical means by ...
... poet George Puttenham pointed out that the same tricks of language could have entirely differ- ent effects in different contexts : what was deadly in one place could be delightful in another . Speaking of the various rhetorical means by ...
Стр. 146
... poets were condemned by their classical adversaries . Gosson wrote a whole essay focusing on the poet's and playwright's willingness to countenance the saucy sexual doings of the pagan gods , and his argument takes up a theme developed ...
... poets were condemned by their classical adversaries . Gosson wrote a whole essay focusing on the poet's and playwright's willingness to countenance the saucy sexual doings of the pagan gods , and his argument takes up a theme developed ...
Стр. 151
... poet , meanwhile , has the most roving eye of all , although the objects of his contemplation are not hellish , like the lunatic's : he looks ' from heaven to earth , from earth to heaven ' ( 5.1.13 ) , but does not take his inspiration ...
... poet , meanwhile , has the most roving eye of all , although the objects of his contemplation are not hellish , like the lunatic's : he looks ' from heaven to earth , from earth to heaven ' ( 5.1.13 ) , but does not take his inspiration ...
Содержание
Introduction | 1 |
Chapter Three | 125 |
AFTERWORD | 211 |
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actors Angelo anti-theatrical Antonio Arden audience Bassanio Beatrice Benedick Berowne Cesario Christian claim Claudio clown Comedy of Errors comedy's comic court courtiers death delight disguise Don John Don Pedro drama Dromio Duke Duke's early modern Elizabethan England English Ephesian Ephesus fantasies finds fool Friar Ganymede gender genre Gentlemen of Verona Gosson Hercules Hero humour Illyria imagine Isabella jest-books jests John Lyly joke Katherina labour laughter Leonato light London Love's Labour's Lost lovers Lucio male Malvolio marriage masculinity master means Measure for Measure Merchant of Venice merry Olivia Orlando Orsino Oxford performance play's players Portia Prince Proteus Puttenham Renaissance rhetorical Romeo and Juliet Rosalind says scene seems servant sexual Shakespeare's Shakespeare's plays Shrew Shylock Silvia Sir Toby social speech stage Stephen Gosson Tarlton's tells theatre theatre-haters theatrical Theseus things thou tragedy Twelfth Night Valentine verbal Viola violence woman women words
Ссылки на эту книгу
Shakespeare's Practical Jokes: An Introduction to the Comic in His Work David Ellis Просмотр фрагмента - 2007 |