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.' |
Fra bogen
Resultater 1-3 af 38
Side 56
... direct source , " other traditions do not present a much better case for continuity . For instance , the relationship between the cycles and early vernacular plays like the Anglo - Norman Adam , La Seinte Resureccion , and the Beverly ...
... direct source , " other traditions do not present a much better case for continuity . For instance , the relationship between the cycles and early vernacular plays like the Anglo - Norman Adam , La Seinte Resureccion , and the Beverly ...
Side 110
... direct appeal to the " gode women " in the audience , asking whether they would also choose their husbands according to these standards , contains a veiled challenge to , if not a direct inversion of , the moral authority of the ruling ...
... direct appeal to the " gode women " in the audience , asking whether they would also choose their husbands according to these standards , contains a veiled challenge to , if not a direct inversion of , the moral authority of the ruling ...
Side 222
... direct audience address offered a special perspective to the audience . In the banquet scene of Timon this in between position is occupied by Apemantus . During Claudius ' speech the position is held by Hamlet , who , through the use of ...
... direct audience address offered a special perspective to the audience . In the banquet scene of Timon this in between position is occupied by Apemantus . During Claudius ' speech the position is held by Hamlet , who , through the use of ...
Indhold
THE MIMUS | 1 |
THE FOLK PLAY AND SOCIAL CUSTOM | 15 |
THE MYSTERY CYCLES | 49 |
Copyright | |
7 andre sektioner vises ikke
Andre udgaver - Se alle
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