Shakespeare's Rhetoric of Comic CharacterRoutledge, 11 Eki 2013 - 168 sayfa First published in 1985. In this revisionist history of comic characterization, Karen Newman argues that, contrary to received opinion, Shakespeare was not the first comic dramatist to create self-conscious characters who seem 'lifelike' or 'realistic'. His comic practice is firmly set within a comic tradition which stretches from Plautus and Menander to playwrights of the Italian Renaissance. |
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Sayfa 2
... simply dismiss them as culturally determined by a particular period or even ideology which values the ' realistic ' . Our sense of dramatic character is shaped by many features of a text and its performance : dialogue ; interaction ...
... simply dismiss them as culturally determined by a particular period or even ideology which values the ' realistic ' . Our sense of dramatic character is shaped by many features of a text and its performance : dialogue ; interaction ...
Sayfa 6
... simply asserting the value of representation , as have generations of Shakespeareans , or repudiating it , as have contemporary theoreticians , I attempt to describe the conventional features of comic characterization which represent a ...
... simply asserting the value of representation , as have generations of Shakespeareans , or repudiating it , as have contemporary theoreticians , I attempt to describe the conventional features of comic characterization which represent a ...
Sayfa 10
... simply what he is doing . He questions his own actions and feelings . The shift to the copula turns the question into an existential one , for in the second halfline Angelo questions not simply his behavior , but his very being . The ...
... simply what he is doing . He questions his own actions and feelings . The shift to the copula turns the question into an existential one , for in the second halfline Angelo questions not simply his behavior , but his very being . The ...
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İçindekiler
1 | |
11 | |
Comic plot conventions in Measure for Measure | 20 |
Menander and New Comedy | 30 |
Plautus and Terence | 40 |
The enchantments of Circe | 57 |
As You Like It and Twelfth Night | 94 |
Mistaking in Much | 109 |
Shakespeares rhetoric of consciousness | 121 |
Notes | 129 |
Index of plays discussed | 149 |
General index viii X XI 1 ឆ៩៩ 20 30 42 57 | 151 |
149 | 152 |
Diğer baskılar - Tümünü görüntüle
Shakespeare's Rhetoric of Comic Character: Dramatic Convention in Classical ... Karen Newman Sınırlı önizleme - 2005 |
Shakespeare's Rhetoric of Comic Character: Dramatic Convention in Classical ... Karen Newman Metin Parçacığı görünümü - 1985 |
Sık kullanılan terimler ve kelime öbekleri
action Angelo Antipholus argues asks audience becomes behavior believes brother calls character characterization claim classical Claudio comedy comic common complex conventions creating critics death debate describes desire dialogue discovers discovery discussion disguise dramatic dream Drusilla Duke earlier early edition Elizabethan emphasize English Errors example experience father feelings figure final follows forms function Hero imagined important individual inner interesting Isabella Italian Italy language later leads lifelike lines linguistic London look lovers Lucrezio marriage means Measure for Measure Menander mind mistaken identity nature never Night noted person Plautus play plot points preceding present problem Pseudolus psychological questions readers recognized references relation Renaissance represent response rhetoric rhetoric of consciousness role romance Rosalind scene sense Shakespeare simply soliloquy speaks speech structure suggests takes Terence theme thou tradition tragedy Twelfth types understand wonder