Shakespeare and the Popular Tradition in the Theater: Studies in the Social Dimension of Dramatic Form and FunctionJohns Hopkins University Press, 1978 - 325 sider Criticism based on literary or formalist conceptions of structure or on the history of ideas, Robert Weimann contends, has removed Shakespeare from the theater, and the theater from society at large. 'It is only when Elizabethan society, theater, and language are seen as interrelated that the structure of Shakespeare's dramatic art emerges as fully functional, that is, as part of a larger, and not only literary, whole.' |
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Side 28
... becomes the triumph of a higher justice , one that confirms the basic assumption of all the outlaw legends , that “ the ... become the facade of oppression and justice can only be found outside it . " 28 These basic motifs found in the ...
... becomes the triumph of a higher justice , one that confirms the basic assumption of all the outlaw legends , that “ the ... become the facade of oppression and justice can only be found outside it . " 28 These basic motifs found in the ...
Side 108
... become actors , the masterless servants in the hall become servants acting on the " place . " This extradramatic counterpoint is ironically underlined when " B " energetically denies that he is an actor ( 46 et seq . ) , so that " A ...
... become actors , the masterless servants in the hall become servants acting on the " place . " This extradramatic counterpoint is ironically underlined when " B " energetically denies that he is an actor ( 46 et seq . ) , so that " A ...
Side 226
... become insepa- rable from the development of a complementary perspective that helps refine basic issues and restructure basic positions ; at the same time , the process of differentiating between truth and appearance has become part of ...
... become insepa- rable from the development of a complementary perspective that helps refine basic issues and restructure basic positions ; at the same time , the process of differentiating between truth and appearance has become part of ...
Indhold
THE MIMUS | 1 |
THE FOLK PLAY AND SOCIAL CUSTOM | 15 |
THE MYSTERY CYCLES | 49 |
Copyright | |
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Shakespeare and the Popular Tradition in the Theater: Studies in the Social ... Robert Weimann Ingen forhåndsvisning - 1987 |
Shakespeare and the Popular Tradition in the Theater: Studies in the Social ... Robert Weimann Ingen forhåndsvisning - 1987 |
Almindelige termer og sætninger
achieved acting area action actor Alfred Harbage Apemantus attitudes audience basic biblical burlesque ceremonies character clown comedy comic contemporary context contradiction conventions criticism culture cycles dance developed dialogue dramatic dramatists dramaturgy E. K. Chambers effect elements Elizabethan English experience F. J. Furnivall Faustus festive figures fool function Garcio grotesque Hamlet heritage Herod holy homiletic humanist illusion important interpretation inversion Jack Finney King late ritual Lear literary locus Lollards London Ludus Coventriae madness meaning mimesis mimetic miming mimus mode morality Mummers Myscheff mystery plays myth nonrepresentational original parody performance perspective platea plebeian poetic popular theater popular tradition position proverb realism reality relationship Renaissance representational rhetoric Richard Richard Southern Robin Hood role scaffold scene secular self-expression sense Shakespeare Shakespeare's theater shepherds social society speech stagecraft structure Tarlton tension theatrical theme thou tion Tudor unity verbal Vice Vice's Wakefield word wordplay yowur