Shakespeare's Agonistic Comedy: Poetics, Analysis, CriticismFairleigh Dickinson Univ Press, 1993 - 302 páginas 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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Resultados 1-5 de 84
Página 9
... comedy " ( or " agon " when the comic context is clear ) , the other two being " comedy of love " ( as a broad category of reparative comedy which includes comedy of courtship , marriage , and friendship , as well as family reunion ) ...
... comedy " ( or " agon " when the comic context is clear ) , the other two being " comedy of love " ( as a broad category of reparative comedy which includes comedy of courtship , marriage , and friendship , as well as family reunion ) ...
Página 29
... comedy of love ( as a play progresses in its virtual present from beginning ... comedy of love culminates ( with whatever qualifications ) , is the dominant end ... courtship evidently fall within this category ; and in them marriage ( of ...
... comedy of love ( as a play progresses in its virtual present from beginning ... comedy of love culminates ( with whatever qualifications ) , is the dominant end ... courtship evidently fall within this category ; and in them marriage ( of ...
Página 30
... courtship in an ironic perspective as a prelude to marriage ; arguably , we also find such a continuum in The Merchant of Venice , where Portia is transformed after her betrothal which liberates her from passivity , and teaches Bassanio a ...
... courtship in an ironic perspective as a prelude to marriage ; arguably , we also find such a continuum in The Merchant of Venice , where Portia is transformed after her betrothal which liberates her from passivity , and teaches Bassanio a ...
Página 31
... comedy of courtship by the social ceremony of marriage , and in the comedy of marriage by the social dimension of reconciliation ) , as social order is reestablished and — where the middle phases involve a retreat from society — a final ...
... comedy of courtship by the social ceremony of marriage , and in the comedy of marriage by the social dimension of reconciliation ) , as social order is reestablished and — where the middle phases involve a retreat from society — a final ...
Página 33
... comedy of courtship is always dominant at the end ( whether it is already dominant earlier on , as in Twelfth Night , or not , as in The Merry Wives ) , and the final note in the multiple - plot comedy is one of resolution focused on ...
... comedy of courtship is always dominant at the end ( whether it is already dominant earlier on , as in Twelfth Night , or not , as in The Merry Wives ) , and the final note in the multiple - plot comedy is one of resolution focused on ...
Contenido
25 | |
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 |
The Merchant of Venice | 164 |
Twelfth Night | 199 |
Notes | 229 |
Bibliography | 278 |
Index | 288 |
Términos y frases comunes
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
Pasajes populares
Página 178 - Out upon her ! Thou torturest me, Tubal. It was my turquoise ; I had it of Leah, when I was a bachelor. I would not have given it for a wilderness of monkeys.
Página 187 - Though justice be thy plea, consider this,— That, in the course of justice, none of us Should see salvation : we do pray for mercy; And that same prayer doth teach us all to render The deeds of mercy.
Página 256 - Both on one sampler, sitting on one cushion, Both warbling of one song, both in one key; As if our hands, our sides, voices, and minds, Had been incorporate. So we grew together, Like to a double cherry, seeming parted; But yet a union in partition, Two lovely berries moulded on one stem; So, with two seeming bodies, but one heart; Two of the first, 2 like coats in heraldry, Due but to one, and crowned with one crest.
Página 134 - If a Jew wrong a Christian, what is his humility ? revenge : If a Christian wrong a Jew, what should his sufferance be by Christian example ? why, revenge. The villainy, you teach me, I will execute; and it shall go hard, but I will better the instruction.
Página 216 - You have said, sir. — To see this age ! — A sentence is but a cheveril glove to a good wit : how quickly the wrong side may be turned outward ! Vio.
Página 171 - Or Shall I bend low and in a bondman's key, With bated breath and whispering humbleness, Say this; 'Fair sir, you spit on me on Wednesday last; You spurn'd me such a day; another time You call'd me dog; and for these courtesies I'll lend you thus much moneys'?
Referencias a este libro
A Concept of Dramatic Genre and the Comedy of a New Type: Chess, Literature ... V. Ulea Vista previa limitada - 2002 |
A Concept of Dramatic Genre and the Comedy of a New Type: Chess, Literature ... V. Ulea Sin vista previa disponible - 2002 |