Shakespeare's Agonistic Comedy: Poetics, Analysis, CriticismFairleigh Dickinson Univ Press, 1993 - 302 страници 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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Страница 10
... from the defined area , while others may have been brought in ) . Since the initial canon is chosen , at least provisionally , before a comprehensive definition can be given , and the definition is certainly a function of 10 PREFACE.
... from the defined area , while others may have been brought in ) . Since the initial canon is chosen , at least provisionally , before a comprehensive definition can be given , and the definition is certainly a function of 10 PREFACE.
Страница 11
... function of the chosen texts , circularity is inevitable . That a circularity of this kind is present in any formulation of a hypothesis ( not necessarily poetics ) based on texts and reapplied analytically to texts3 may be of little ...
... function of the chosen texts , circularity is inevitable . That a circularity of this kind is present in any formulation of a hypothesis ( not necessarily poetics ) based on texts and reapplied analytically to texts3 may be of little ...
Страница 13
... functional equivalence . The comedy of love is the dominant factor , even in those cases where the agon is extensive ... function of the respective comic levels within the totality of a play . It derives from distinctive comic traditions ...
... functional equivalence . The comedy of love is the dominant factor , even in those cases where the agon is extensive ... function of the respective comic levels within the totality of a play . It derives from distinctive comic traditions ...
Страница 15
... is not itself a poetics , nor is it excluded by a poetics . However , a description of constitutive patterns in the text may function at least as a caveat against arguments , relying on extratextual factors , which in effect PREFACE 15.
... is not itself a poetics , nor is it excluded by a poetics . However , a description of constitutive patterns in the text may function at least as a caveat against arguments , relying on extratextual factors , which in effect PREFACE 15.
Страница 17
... function and importance of violence ( and its specific manifestation in revenge ) . It guides every aspect of the pro- gressive and cumulative perspective which accompanies comic developments , and is an essential factor in the overall ...
... function and importance of violence ( and its specific manifestation in revenge ) . It guides every aspect of the pro- gressive and cumulative perspective which accompanies comic developments , and is an essential factor in the overall ...
Съдържание
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 |
Често срещани думи и фрази
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
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