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 21
... inversion achieved through mimesis or disguise is again and again the mainspring . This happens when a rex saturnalitius , a mock king or Lord of Misrule , a May King , a Boy Bishop ( the German Schul- or Apfel - Bischof ) , or a ...
... inversion achieved through mimesis or disguise is again and again the mainspring . This happens when a rex saturnalitius , a mock king or Lord of Misrule , a May King , a Boy Bishop ( the German Schul- or Apfel - Bischof ) , or a ...
Side 42
... inversion of it , and thereby sheds light on one of the tragedy's basic themes : Lear , after he envisions those " Poor naked wretches " and faces poor Tom as “ unac- commodated man , " tears off his " lendings " and later has his boots ...
... inversion of it , and thereby sheds light on one of the tragedy's basic themes : Lear , after he envisions those " Poor naked wretches " and faces poor Tom as “ unac- commodated man , " tears off his " lendings " and later has his boots ...
Side 135
... inversion and inversion through apparent meaning . Usually this involves the confusion of two or more semantic or aural units . The confusion , however , is a contradiction , and reveals a broader context in which one element ( often ...
... inversion and inversion through apparent meaning . Usually this involves the confusion of two or more semantic or aural units . The confusion , however , is a contradiction , and reveals a broader context in which one element ( often ...
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