Shakespeare's Agonistic Comedy: Poetics, Analysis, CriticismFairleigh Dickinson Univ Press, 1993 - 302 էջ 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. |
From inside the book
Արդյունքներ 59–ի 1-ից 5-ը:
Էջ 16
... manipulated evidence , how right all the imported ideas are . The latter faces the danger of not making any serious scientific contribution to psychology , while renouncing his professional investigative responsibility in his own field ...
... manipulated evidence , how right all the imported ideas are . The latter faces the danger of not making any serious scientific contribution to psychology , while renouncing his professional investigative responsibility in his own field ...
Էջ 17
... 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 perspective ...
... 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 perspective ...
Էջ 32
... manipulation , comic 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 ...
... manipulation , comic 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 ...
Էջ 37
... manipulation and 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 ...
... manipulation and 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 ...
Էջ 38
... manipulation ; and in contrast to confrontations in comedy of love ( courtship or marriage ) manipulation is not intended to correct but to punish . We are dealing here with a factor which tends to appear more in one kind of comedy of ...
... manipulation ; and in contrast to confrontations in comedy of love ( courtship or marriage ) manipulation is not intended to correct but to punish . We are dealing here with a factor which tends to appear more in one kind of comedy of ...
Բովանդակություն
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 |
Common terms and phrases
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
Սիրված հատվածներ
Էջ 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.
Էջ 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.
Էջ 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.
Էջ 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.
Էջ 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.
Էջ 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'?