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Author: Lawrence Danson
Publisher: Oxford Shakespeare Topics
ISBN: 9780198711728
Category : Drama
Languages : en
Pages : 172
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Book Description
Oxford Shakespeare Topics provides students, teachers, and interested readers with short books on important aspects of Shakespeare criticism and scholarship. Each book is written by an authority in its field, and combines accessible style with original discussion of its subject. Notes and a critical guide to further reading equip the interested reader with the means to broaden research. The history of the genres, or kinds, of drama is one of contradictory traditions and complex cultural assumptions. The divisions established by the original edition of Mr. William Shakespeare's Comedies, Histories, and Tragedies (the First Folio, 1623) give shape to whole curricula; but, as Lawrence Danson reminds us in this lively book, there is nothing inevitable, and much unsatisfying, about that tripartite scheme. Yet students of Shakespeare cannot avoid thinking about questions of genre; often they are the unspoken reason why classrooms full of smart people fail to agree on basic interpretative issues. Danson's guide to the kinds of Shakespearian drama provides an accessible account of genre-theory in Shakespeare's day, an overview of the genres on the Elizabethan stage, and a provocative look at the full range of Shakespeare's comedies, histories, and tragedies.
Author: Lawrence Danson
Publisher: Oxford Shakespeare Topics
ISBN: 9780198711728
Category : Drama
Languages : en
Pages : 172
Get Book
Book Description
Oxford Shakespeare Topics provides students, teachers, and interested readers with short books on important aspects of Shakespeare criticism and scholarship. Each book is written by an authority in its field, and combines accessible style with original discussion of its subject. Notes and a critical guide to further reading equip the interested reader with the means to broaden research. The history of the genres, or kinds, of drama is one of contradictory traditions and complex cultural assumptions. The divisions established by the original edition of Mr. William Shakespeare's Comedies, Histories, and Tragedies (the First Folio, 1623) give shape to whole curricula; but, as Lawrence Danson reminds us in this lively book, there is nothing inevitable, and much unsatisfying, about that tripartite scheme. Yet students of Shakespeare cannot avoid thinking about questions of genre; often they are the unspoken reason why classrooms full of smart people fail to agree on basic interpretative issues. Danson's guide to the kinds of Shakespearian drama provides an accessible account of genre-theory in Shakespeare's day, an overview of the genres on the Elizabethan stage, and a provocative look at the full range of Shakespeare's comedies, histories, and tragedies.
Author: Thomas Eger
Publisher: GRIN Verlag
ISBN: 3638744965
Category :
Languages : en
Pages : 65
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Book Description
Examination Thesis from the year 2003 in the subject English Language and Literature Studies - Literature, grade: 1,3, Bielefeld University, 71 entries in the bibliography, language: English, abstract: "Love" is a central topic in Shakespeare′s plays. Many of his couples have gained a status of immortality: Antony and Cleopatra, Romeo and Juliet, or Beatrice and Benedick are only a few examples. These lovers share one experience, which Lysander in "A Midsummer Night′s Dream" sums up very clearly: "The course of true love never did run smooth ..." (1,1,134) This dilemma is the "raw material" I am interested in. I will take three Shakespearean plays with "love" as their central issue and examine the protagonists′ courses of love in them. This involves the beginning, the obstacles in the way, the reactions to these obstacles and the final failure or success to overcome them. The plays chosen are "Romeo and Juliet", "All′s Well that Ends Well", and "The Taming of the Shrew". In the First Folio edition the first one is classified as belonging to the literary form of "tragedy", the latter two as "comedies". This leads me to the second element in the title, which is "dramatic genre". What Northrop Frye says about comedy is also valid for tragedy: "If a play in a theatre is subtitled ′a comedy′, information is conveyed to a potential audience about what kind of thing to expect, and this type of information has been intelligible since before the days of Aristophanes." One such expectation concerns a play′s mood. Here lies a fundamental difference between tragedy and comedy. Generally speaking, the audience expects that a comedy creates a happy mood and a tragedy a sad one. However, I am not alone finding that "Romeo" is a rather happy play over long stretches, whereas "The Taming" and "All′s Well" are anything but thoroughly happy pieces. In these three dramas Shakespeare only partly fulfils the expectations, which are evoked. Their generic structure does not generate
Author: John D. Cox
Publisher: Princeton University Press
ISBN: 1400860016
Category : Literary Criticism
Languages : en
Pages : 301
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Book Description
Ranging over all the dramatic genres in the Shakespearean canon, this book focuses on plays where medieval drama most clearly illuminates Shakespeare's treatment of political power and social privilege. Originally published in 1989. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Author: Margreta de Grazia
Publisher: Cambridge University Press
ISBN: 1139825984
Category : Literary Criticism
Languages : en
Pages : 504
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Book Description
This book offers a comprehensive, readable and authoritative introduction to the study of Shakespeare, by means of nineteen newly commissioned essays. An international team of prominent scholars provide a broadly cultural approach to the chief literary, performative and historical aspects of Shakespeare's work. They bring the latest scholarship to bear on traditional subjects of Shakespeare study, such as biography, the transmission of the texts, the main dramatic and poetic genres, the stage in Shakespeare's time and the history of criticism and performance. In addition, authors engage with more recently defined topics: gender and sexuality, Shakespeare on film, the presence of foreigners in Shakespeare's England and his impact on other cultures. Helpful reference features include chronologies of the life and works, illustrations, detailed reading lists and a bibliographical essay.
Author: V. Ulea
Publisher: SIU Press
ISBN: 9780809324521
Category : Language Arts & Disciplines
Languages : en
Pages : 232
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Book Description
Applying systems theory to the comedies of Chekhov, Balzac, Kleist, Moliere, and Shakespeare, A Concept of Dramatic Genre and the Comedy of a New Type: Chess, Literature, and Film approaches dramatic genre from the point of view of the degree of richness and strength of a character’s potential. Its main focus is to establish a methodology for analyzing the potential from multidimensional perspectives, using systems thinking. The whole concept is an alternative to the Aristotelian plot-based approach and is applied to an analysis of western and eastern European authors as well as contemporary American film. This innovative study consists of three parts: The first part is mostly theoretical, proposing a new definition of the dramatic as a category linked to general systems phenomena and offering a new classification of dramatic genre. In the second part, Ulea offers a textual analysis of some works based on this new classification. She analyzes comedies, tragedies, and dramas on the same or similar topics in order to reveal what makes them belong to opposite types of dramatic genre. Additionally, she considers the question of fate and chance, with regard to tragedy and comedy, from the point of view of the predispositioning theory. In the third part, Ulea explores an analysis of the comedy of a new type—CNT. Her emphasis is on the integration of the part and the whole in approaching the protagonist’s potential. She introduces the term quasi-strong potential in order to reveal the illusory strength of protagonists of the CNT and to show the technique of CNT’s analysis and synthesis. Ulea’s research begins with the notion of the comic, traditionally considered synonymous with the laughable, and attempts to approach it as independent from the laughable and laughter. The necessity to do so is dictated by the desire to penetrate the enigmatic nature of Chekhov’s comedy. The result is A Concept of Dramatic Genre and the Comedy of a New Type: Chess, Literature, and Film, a completely new approach to potential and systems thinking—which has never been a focus of dramatic theory before. Such potential is the touchstone of the comic and comedy, their permanent basic characteristic, the heart and axis around which the comedic world spins.
Author: William Shakespeare
Publisher:
ISBN:
Category :
Languages : en
Pages : 464
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Book Description
Author: Grace McCarthy
Publisher: Routledge
ISBN: 1000416828
Category : Fiction
Languages : en
Pages : 259
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Book Description
Shakespearean Drama, Disability, and the Filmic Stare synthesizes Laura Mulvey’s male gaze and Rosemarie Garland-Thomson’s stare into a new critical lens, the filmic stare, in order to understand and analyze the visual construction of disability in adaptations of Shakespearean drama. The book explores the intersections of adaptation studies, film studies, Shakespeare studies, and disability studies to analyze twentieth and twenty-first century representations of both physical disability and ‘madness’ in global cinematic film, television film, and digital broadcast cinema in Shakespeare’s works. Shakespearean Drama, Disability, and the Filmic Stare argues that the filmic stare does not differentiate between male and female characters with disabilities, or between powerful and powerless figures in disability representation. This multi-disciplinary volume is ideal for disability studies scholars, Shakespeare scholars, and those interested in adaptations of Shakespeare’s famous works.
Author: Martin Wiggins
Publisher: Oxford Shakespeare Topics
ISBN: 9780198711605
Category : Literary Criticism
Languages : en
Pages : 166
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Book Description
'Extremely informative... There are some nice touches here, and Wiggins is good on the effects of the cultural shifts that he describes, making telling comparisons such as: 'To the Elizabethans, Marlowe's plays must have had all the aural impact of a symphony orchestra taking over from a barrel-organ'.' -Modern Language Review'Oxford University Press offer a mix of engagingly written introductions to a variety of Topics intended largely for undergraduates. Each author has clearly been reading and listening to the most recent scholarship, but they wear their learning lightly.' -Ruth Morse, Times Literary Supplement'Provides a superb, concise, and approachable overview of Shakespeare's contextual place among the plays and playwrights of early modern London.' -Sixteenth Century JournalOxford Shakespeare Topics (General Editors Peter Holland and Stanley Wells) provide students, teachers, and interested readers with short books on important aspects of Shakespeare criticism and scholarship, including some general anthologies relating to Shakespeare. This book examines the plays of Shakespeare in their context as part of English Renaissance drama as a whole. Separate chapters deal with the origins of that drama; tragedy; comedy; the artistic conventions of play-writing in the period; and tragicomedy. Throughout, Shakespeare's plays are shown to be intimately associated with those of his contemporaries, notably Christopher Marlowe, Thomas Kyd, George Chapman, Ben Jonson, John Marston, and John Fletcher.
Author: Ivo Kamps
Publisher: Verso
ISBN: 9780860914631
Category : Drama
Languages : en
Pages : 360
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Book Description
Receptive to influences of such diverse theorists as Derrida, Jameson, Foucault, Irigaray, Kristeva, Lacan and Althusser, materialist Shakespeare criticism has long since left behind the days of 'vulgar' Marxism and has emerged as a rich interpretive practice. The essays chosen for this book cover all of Shakespeare's dramatic genres and include works on King Lear, Othello, As You Like It, Measure for Measure, The Tempest, The Merchant of Venice, Henry V, Macbeth, The Taming of the Shrew and Julius Caesar. Contributors: Paul Delany; Louis Adrian Montrose; Walter Cohen; Alan Sinfield; Stephen Greenblatt; Michael D. Bristol; Katherine Eismann Maus; James R. Andreas; Robert Weimann; Graham Holderness; Lynda E. Boose; John Drakakis; Claire McEacherm; Frederic Jameson; and Ivo Kamps.
Author: R. S. White
Publisher: Manchester University Press
ISBN: 1526107813
Category : Performing Arts
Languages : en
Pages : 342
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Book Description
This engaging and stimulating book argues that Shakespeare's plays significantly influenced movie genres in the twentieth century, particularly in films concerning love in the classic Hollywood period. Shakespeare's 'green world' has a close functional equivalent in 'tinseltown' and on 'the silver screen', as well as in hybrid genres in Bollywood cinema. Meanwhile, Romeo and Juliet continues to be an enduring source for romantic tragedy on screen. The nature of generic indebtedness has not gained recognition because it is elusive and not always easy to recognise. The book traces generic links between Shakespeare's comedies of love and screen genres such as romantic comedy, 'screwball' comedy and musicals, as well as clarifying the use of common conventions defining the genres, such as mistaken identity, 'errors', disguise and 'shrew-taming'. Speculative, challenging and entertaining, the book will appeal to those interested in Shakespeare, movies and the representation of love in narratives.
