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. |
Dentro del libro
Resultados 1-5 de 45
Página 17
... 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 ...
Página 32
... 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 ...
Página 37
... 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 ...
Página 38
... 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 ...
Página 41
... fortune . Fortune is usually a major ingredient in the comedy of courtship ( and in romance or pastoral material ) even when there are such competent damsels as Portia and Rosalind , let alone more passive characters like Julia or Viola ...
... fortune . Fortune is usually a major ingredient in the comedy of courtship ( and in romance or pastoral material ) even when there are such competent damsels as Portia and Rosalind , let alone more passive characters like Julia or Viola ...
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 |