Shakespeare's Rhetoric of Comic CharacterRoutledge, 11.10.2013 г. - 168 страници 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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Страница 3
... soliloquy presents the thoughts of a given character, but they have seldom looked carefully at the rhetorical ... soliloquy or monologue to create Rosalind's mental life; we miss Falstaff because his comic soliloquies are part of a ...
... soliloquy presents the thoughts of a given character, but they have seldom looked carefully at the rhetorical ... soliloquy or monologue to create Rosalind's mental life; we miss Falstaff because his comic soliloquies are part of a ...
Страница 4
... soliloquy, Clemen observes the importance of set speeches for presenting characters, their states of mind and ... soliloquies, but certain asides and what we might term more generally monologic dialogue, fragments of dialogue in which a ...
... soliloquy, Clemen observes the importance of set speeches for presenting characters, their states of mind and ... soliloquies, but certain asides and what we might term more generally monologic dialogue, fragments of dialogue in which a ...
Страница 5
... soliloquy and its place in conventional comic plots have a long history, and part of my purpose in this study has been to place Shakespeare's comic practice in a larger historical frame. In his excellent book, Shakespeare and the ...
... soliloquy and its place in conventional comic plots have a long history, and part of my purpose in this study has been to place Shakespeare's comic practice in a larger historical frame. In his excellent book, Shakespeare and the ...
Страница 6
... soliloquies, thinking aloud, and the like. My aim is to demonstrate the artifice Shakespeare uses to convey thought and feeling, for like E. H. Gombrich, I believe that we are in real danger of losing contact with the great masters of ...
... soliloquies, thinking aloud, and the like. My aim is to demonstrate the artifice Shakespeare uses to convey thought and feeling, for like E. H. Gombrich, I believe that we are in real danger of losing contact with the great masters of ...
Страница 7
... defiance, hatred'.1 It is the process of those changes in his comic protagonists which we will be analyzing, using Measure for Measure as our example. Consider the following soliloquy from Measure for Measure which dramatizes.
... defiance, hatred'.1 It is the process of those changes in his comic protagonists which we will be analyzing, using Measure for Measure as our example. Consider the following soliloquy from Measure for Measure which dramatizes.
Съдържание
1 | |
7 | |
2 Comic plot conventions in Measure for Measure | 20 |
3 Menander and New Comedy | 30 |
4 Plautus and Terence | 42 |
5 The enchantments of Circe | 57 |
Shakespeares early comedies | 77 |
As You Like It and Twelfth Night | 94 |
8 Mistaking in Much Ado | 109 |
9 Shakespeares rhetoric of consciousness | 121 |
Notes | 129 |
Index of plays discussed | 149 |
General index | 151 |
Други издания - Преглед на всички
Shakespeare's Rhetoric of Comic Character: Dramatic Convention in Classical ... Karen Newman Ограничен достъп - 2005 |
Често срещани думи и фрази
action Angelo Angelo’s soliloquy Antipholus of Syracuse Arden edition argues audience Beatrice behavior Benedick Berowne Cesario characterization Charisios Claudio Comedy of Errors comic characters comic plots comic soliloquy complex conventions courtly creating critics discovery disguise dramatic dramatists Drusilla Duke Duke’s E. M. W. Tillyard Elizabethan emphasize essay Evanthius example features of dialogue fiction Flamminio Gl’Ingannati Hamlet Hero Hero’s imagined inner debate intrigue Isabella Italian comedy Knemon language Lelia lifelike lines linguistic London Love’s lovers Lucrezio M. C. Bradbrook Malvolio marriage Measure for Measure Menander Menander’s metaphor Midsummer Night’s Dream mind mistaken identity mistaken identity plot monologue Olivia person Plautine Plautus play play’s problem comedies pronouns prosopopoeia Pseudolus psychological recognized Renaissance comedy represent rhetoric of consciousness rhetorical questions role romance Rosalind Salingar scene self—address sense Shakespeare Shakespeare Survey Shakespeare’s characters soliloquy Sosia suggests Terence Terence’s theme thou tradition tragedy trans Twelfth Night Viola words