Dynamism of Character in Shakespeare's Mature TragediesUniversity of Delaware Press, 2003 - 327 sider Dynamism of Character in Shakespeare's Mature Tragedies applies the systems theory of character to the analysis of the psychological and dramatic consistency of the main characters of Hamlet, Othello, King Lear, and Macbeth. The theory considers human behavior in terms of functional equilibrium between the stable properties of the mind, independent of the pressures of the sociocultural environment and the immediate situational context. What we call character thus denotes an autonomous configuration of psychological elements, which ensure the consistency and continuity of individual identity, despite the influence of the changing external circumstances. intuitive, and impressionistic approaches to character criticism, to the New Critical aesthetic readings of Shakespeare's plays which often ignore psychology as a valid interpretive perspective, and to the more recent cultural materialist readings that consider dramatic characters solely as functions of external, sociocultural forces. Piotr Sadowski teaches English literature at the American College Dublin, Dublin Business School, and Trinity College Dublin. |
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Side
... dramatic consistency of the main characters from Hamlet , Othello , King Lear , and Macbeth . The theory considers human behavior in terms of functional equilibrium between the stable properties of the mind , independent from the ...
... dramatic consistency of the main characters from Hamlet , Othello , King Lear , and Macbeth . The theory considers human behavior in terms of functional equilibrium between the stable properties of the mind , independent from the ...
Side 7
... dramatic figures resembling human persons and therefore inviting the kind of response we nor- mally have toward people we meet in life . This subjective , personal bias seems therefore inevitable in ana- lyzing dramatic characters of ...
... dramatic figures resembling human persons and therefore inviting the kind of response we nor- mally have toward people we meet in life . This subjective , personal bias seems therefore inevitable in ana- lyzing dramatic characters of ...
Side 8
... dramatic characters offered in the present book is also underpinned by a theory , which means that the resulting inter- pretive analyses are as good , or as bad , as the underlying theory . My intention is to use what can be called a ...
... dramatic characters offered in the present book is also underpinned by a theory , which means that the resulting inter- pretive analyses are as good , or as bad , as the underlying theory . My intention is to use what can be called a ...
Side 9
... dramatic plots allows for a more objective and less impressionistic interpre- tation . More than that , assuming that dramatic personages are prop- erly identified with respect to their dynamism of character , it is actually possible to ...
... dramatic plots allows for a more objective and less impressionistic interpre- tation . More than that , assuming that dramatic personages are prop- erly identified with respect to their dynamism of character , it is actually possible to ...
Side 10
... dramatic character to be effective onstage , some degree of psychological consistency is necessary to make that character convincing to the audience . On the other hand , we need not remind ourselves that theatrical plays are not ...
... dramatic character to be effective onstage , some degree of psychological consistency is necessary to make that character convincing to the audience . On the other hand , we need not remind ourselves that theatrical plays are not ...
Indhold
7 | |
13 | |
Toward Systems Theory of Character | 26 |
Dynamism of Character | 49 |
Characters in Action | 81 |
Hamlet | 98 |
Othello | 164 |
King Lear | 219 |
Macbeth | 273 |
300 | |
318 | |
324 | |
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Almindelige termer og sætninger
acter action appear attitude audience avenger balance Banquo behavior Bradley Cassio cause character types characterological Claudius Claudius's context Cordelia crisis critics daughters death Desdemona dramatic dynamism of character Edgar Edmund Emilia emotional endodynamic character endostatic example exodynamic exostatic external fact father feelings filial Fortinbras gender Gertrude Ghost Gloucester Gloucester's Goneril Gonzago play Grene Hamlet hand heroic honest Honigmann Horatio human husband Iago Iago's individual interactions justice Kent killing King Lear king's Knight L. C. Knights Lady Macbeth Laertes Laertes's lago Lear's literary loyalty Macduff madness McElroy ment mental mind moral motives murder namic nature Ophelia Othello partner plot political Polonius Polonius's possible prince prince's principles psychological reaction reason relations revenge Roderigo role Rosencrantz and Guildenstern scene sense sexual Shakespeare's Shakespeare's Mature Tragedies Shakespeare's Tragic Imagination Shakespearean Tragedy situation social sociological power static character static person statism thou tion traditional unconscious villain wife Wilson Knight
Henvisninger til denne bog
Hamlet, Protestantism, and the Mourning of Contingency: Not to be John E. Curran Uddragsvisning - 2006 |
Hamlet, Protestantism, and the Mourning of Contingency: Not to be John E. Curran Ingen forhåndsvisning - 2006 |