Shakespeare's Agonistic Comedy: Poetics, Analysis, CriticismFairleigh Dickinson Univ Press, 1993 - 302 頁 In one respect, the purpose of this book is to define the characteristics and to map the canon of Shakespeare's agonistic comedy; in other words, to provide a poetics. Such a task has its own importance and preliminary value if fundamental patterns and functions have not been recognized as such in the critical analysis of a body of texts. Part I of Shakespeare's Agonistic Comedy identifies the structural characteristics of the provisionally outlined canon, focuses on apparently borderline cases (Petruchio and Katherina, Benedick and Beatrice, Jaques and Don John, as well as that of Love's Labour's Lost) in order to define the canon more precisely, defines the distinctive perspective generated by agonistic comedy, and examines the thematic and referential patterns that may appear prima facie to be characteristic of this comedy: violence and revenge. Throughout this section dealing with poetics, Beiner emphasizes that agonistic comedy is capable of being self-complete and independent and yet in Shakespearean comedy it never generates an entire play; nor does it appear in every play from Errors to Twelfth Night. A poetics of Shakespeare's agonistic comedy is necessarily related to the wider field of a poetics of Shakespearean comedy, which in turn is related to the even wider area of comic traditions. |
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第 1 到 5 筆結果,共 45 筆
第 17 頁
... fortune and manipulation as opposed to changes in the attitudes of characters , and with the function and importance of violence ( and its specific manifestation in revenge ) . It guides every aspect of the pro- gressive and cumulative ...
... fortune and manipulation as opposed to changes in the attitudes of characters , and with the function and importance of violence ( and its specific manifestation in revenge ) . It guides every aspect of the pro- gressive and cumulative ...
第 32 頁
... fortune , and other instances of comic control ) , so that the final resolution can take place . With the exception of Love's Labour's Lost , imperfection is not allowed to prevent a happy end in the comedy of love , even in such ...
... fortune , and other instances of comic control ) , so that the final resolution can take place . With the exception of Love's Labour's Lost , imperfection is not allowed to prevent a happy end in the comedy of love , even in such ...
第 37 頁
... fortune manage their affairs for them , in such a way that the final achievement of what is desired poses no challenge to accepted mores , just as it does not disrupt social order . The agonistic plots are guided by the same principle ...
... fortune manage their affairs for them , in such a way that the final achievement of what is desired poses no challenge to accepted mores , just as it does not disrupt social order . The agonistic plots are guided by the same principle ...
第 38 頁
... fortune ( which is visible especially in the imposed resolutions ) . In Shakespeare's comedy of courtship , there is very little manipulative intrigue , and when it is deployed at all ( e.g. , with Tranio and Lucentio in The Shrew , or ...
... fortune ( which is visible especially in the imposed resolutions ) . In Shakespeare's comedy of courtship , there is very little manipulative intrigue , and when it is deployed at all ( e.g. , with Tranio and Lucentio in The Shrew , or ...
第 41 頁
很抱歉,此頁的內容受到限制.
很抱歉,此頁的內容受到限制.
內容
25 | |
Semiagon and the Comedy of Love Clarifying the Boundary | 54 |
The Agonistic Perspective ReaderSpectator Response | 77 |
Violence in the Comedy of Love Errors to Twelfth Night Referential and Thematic Patterns | 88 |
Comic Revenge and Agons Referential and Thematic Patterns Continued | 118 |
The Major Texts | 137 |
The Merry Wives of Windsor | 139 |
常見字詞
agon agonistic alazon antagonist antisemitic Antonio attitude audience basic Bassanio becomes behavior Belmont Cesario characters Christian comedy of courtship comedy of errors comedy of love comedy of marriage comic action comic clarification comic control comic perspective comic punishment comic resolution comic revenge comic strategy confrontation connected contrast conventional Coppélia created critical defeat distinction dramatic Dream Duke effect eironic Falstaff Feste's festive fiction final fortune friendship function genre goal human husband Illyria indicates initial involving Jessica kind least literary Love's Labour's Lost lovers Malvolio manipulation Merchant of Venice Merry Wives metadramatic miles gloriosus negative norm obstruction Olivia Orsino pattern perspective of folly Petruchio play plot level poetics Portia problem problem comedies punitive qualifications ridiculous romance saturnalian says scene semi-agons sense Shakespeare's Shakespearean comedy Shrew Shylock social specific structure threat Toby tradition tragedy tragic Twelfth Night unfolds University Press values vindictive Viola violence well-being young