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 86
... follow their spatial and verbal movement closely . The Secunda Pastorum opens with the appearance of the First Shepherd , whose introductory lines from the platea ( close to the ... follows as a dramatic illusion is 86 THE MYSTERY CYCLES.
... follow their spatial and verbal movement closely . The Secunda Pastorum opens with the appearance of the First Shepherd , whose introductory lines from the platea ( close to the ... follows as a dramatic illusion is 86 THE MYSTERY CYCLES.
Side 95
... follow ; and when Slawpase does not get his share of the toast and calls his fellow shepherds " knafys " and wishes ... follows : " It draes nere nyght . Trus , go we to rest " ( 287 ) . A. C. Cawley's suggestion that imaginary dishes ...
... follow ; and when Slawpase does not get his share of the toast and calls his fellow shepherds " knafys " and wishes ... follows : " It draes nere nyght . Trus , go we to rest " ( 287 ) . A. C. Cawley's suggestion that imaginary dishes ...
Side 234
... follows is Hamlet's famous couplet at the end of the first act : Let us go in together ; And still your fingers on your lips , I pray . The time is out of joint . O cursed spite , That ever I was born to set it right ! Nay , come ...
... follows is Hamlet's famous couplet at the end of the first act : Let us go in together ; And still your fingers on your lips , I pray . The time is out of joint . O cursed spite , That ever I was born to set it right ! Nay , come ...
Indhold
THE MIMUS | 1 |
THE FOLK PLAY AND SOCIAL CUSTOM | 15 |
THE MYSTERY CYCLES | 49 |
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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