Shakespeare and the Ends of ComedyIndiana University Press, 1991 - 158 頁 "This is a congenial, lucidly written work, the product of careful thought and attention to performance." --Shakespeare Bulletin "... Jensen has done a service by reminding readers of the variety and richness of the comedy and comic devices in Shakespeare's plays." --Choice "The ear that Jensen brings to the plays themselves results in close readings that are always insightful and stimulate new questions." --English Language Notes "Here is a genuinely readable and enjoyable book... humane, balanced, unpolemical, good humored, and fundamentally sane." --Charles R. Forker "... Jensen has produced a sensitive and eminently readable book that will no doubt figure prominently in future attempts to understand Shakespeare's comic practice." --Shakespeare Yearbook Jensen questions a persistent critical emphasis that finds the meanings of Shakespeare's comedies in their endings. Analyzing The Merchant of Venice, Much Ado about Nothing, As You Like It, Twelfth Night, and Measure for Measure, he shows how much vitality is sacrificed when critics assume that "the end crowns the work." |
搜尋書籍內容
第 1 到 3 筆結果,共 35 筆
... focus . Enough has been said , here and elsewhere , to show how completely the Barber - Frye position has become the orthodoxy of those who have written about Shakespearean comedy since that position was given its first state- ment . It ...
... focus is almost exclusively on Rosalind . Still , this focus allows her to see the play's chief meaning to emerge at its close " when Rosalind doffs her disguise " and when , in the presence of her father , she " accents her shift from ...
... focus on closure in other genres , 140n Sources : Much Ado about Nothing , 65- 66 ; As You Like It , 95 Spencer , Theodore : question of nature of man , 127-28 Stage : play as succession of dramatic moments and consequences of em ...