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. |
搜尋書籍內容
第 1 到 5 筆結果,共 43 筆
第 12 頁
... tragedy ) becomes the focus of exploration , expansion and change — as the so - called " problem comedies " indicate particularly emphatically . The mere exercise of the " well - made play " was not Shakespeare's practice , though he ...
... tragedy ) becomes the focus of exploration , expansion and change — as the so - called " problem comedies " indicate particularly emphatically . The mere exercise of the " well - made play " was not Shakespeare's practice , though he ...
第 15 頁
... ( tragedy - comedy ) are persistently central in Shakespearean drama ( more generally in European drama , and , in a modal rather than a generic distinction , also in European narrative literature ) . They are not a symptom of ...
... ( tragedy - comedy ) are persistently central in Shakespearean drama ( more generally in European drama , and , in a modal rather than a generic distinction , also in European narrative literature ) . They are not a symptom of ...
第 17 頁
... tragedy ) . The agon with Shylock has been read as a deficient comedy of love , to be liberally " improved " by latter - day psychology and supplemented with irony ( to give us even a kind of frustrated comedy of love ) . Falstaff of ...
... tragedy ) . The agon with Shylock has been read as a deficient comedy of love , to be liberally " improved " by latter - day psychology and supplemented with irony ( to give us even a kind of frustrated comedy of love ) . Falstaff of ...
第 28 頁
... tragedy — and we shall do so at appropriate points . Often in comedy , violence presents certain threats which point to the tragic possibilities ( which are not ultimately allowed by the play ) , as we see , for instance , with the ...
... tragedy — and we shall do so at appropriate points . Often in comedy , violence presents certain threats which point to the tragic possibilities ( which are not ultimately allowed by the play ) , as we see , for instance , with the ...
第 29 頁
... tragedy ) . Let us look first at the basic difference between the unfolding of an agon and of a comedy of love ( as a play progresses in its virtual present from beginning to end , rather than being seen retrospectively as a spatial ...
... tragedy ) . Let us look first at the basic difference between the unfolding of an agon and of a comedy of love ( as a play progresses in its virtual present from beginning to end , rather than being seen retrospectively as a spatial ...
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