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The Oxford Handbook of Shakespearean Comedy最新文献

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Problem Comedies 问题喜剧
The Oxford Handbook of Shakespearean Comedy Pub Date : 2018-09-13 DOI: 10.1093/oxfordhb/9780198727682.013.34
Oliver Arnold
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引用次数: 0
The Humours in Humour 幽默中的幽默
The Oxford Handbook of Shakespearean Comedy Pub Date : 2018-09-13 DOI: 10.1093/OXFORDHB/9780198727682.013.13
Matthew Steggle
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引用次数: 1
Adapting Shakespeare’s Comedies 改编莎士比亚喜剧
The Oxford Handbook of Shakespearean Comedy Pub Date : 2018-09-13 DOI: 10.1093/OXFORDHB/9780198727682.013.28
K. Scheil
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引用次数: 0
Encountering the Past II 遭遇过去2
The Oxford Handbook of Shakespearean Comedy Pub Date : 2018-09-13 DOI: 10.1093/OXFORDHB/9780198727682.013.3
H. Cooper
{"title":"Encountering the Past II","authors":"H. Cooper","doi":"10.1093/OXFORDHB/9780198727682.013.3","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780198727682.013.3","url":null,"abstract":"Shakespeare’s comic stagecraft was developed in a world that embraced all kinds of entertainments, from the informality of jesters and festive shows to moral interludes. His choice of plots for his comedies was predominantly governed not by Classical models or humanist theory but by his English dramatic and narrative inheritance. Middle English provided the model of romance that focused on the loves of the high-born, their trials (sometimes including the threat of death) on the way to a happy ending, and a marked emphasis on women’s faithfulness. The most important single author to inspire him was Chaucer, who underlies three of his plays, with Gower in second place. It was an inheritance that made generous space for comedy as funny, but which also opened up the seriousness of the genre such as reached its fullest expression in the last plays.","PeriodicalId":421471,"journal":{"name":"The Oxford Handbook of Shakespearean Comedy","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114094104","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Farce and Force 闹剧与武力
The Oxford Handbook of Shakespearean Comedy Pub Date : 2018-09-13 DOI: 10.1093/oxfordhb/9780198727682.013.11
S. Barker
{"title":"Farce and Force","authors":"S. Barker","doi":"10.1093/oxfordhb/9780198727682.013.11","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780198727682.013.11","url":null,"abstract":"This chapter reviews the substantial body of scholarship devoted to the relationship between Shakespeare’s plays and warfare, emphasizing the emphasis of this work on Shakespeare’s history plays, the classical plays and, to some extent, the principal tragedies. It then addresses an obvious gap in this scholarship by studying the ways in which Shakespeare’s comedies engage with past wars or the threat of war, often by presenting figures who have been fashioned either by the experience of war or a frustration over the absence of war. The comedies, in other words, continually hint at violence even as they exploit—by inversion or parody—the tropes of militarism found in the histories, the classical plays, and the tragedies.","PeriodicalId":421471,"journal":{"name":"The Oxford Handbook of Shakespearean Comedy","volume":" 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"113953141","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Encountering the Elizabethan Stage 遇到伊丽莎白时代
The Oxford Handbook of Shakespearean Comedy Pub Date : 2018-09-13 DOI: 10.1093/OXFORDHB/9780198727682.013.1
James P. Bednarz
{"title":"Encountering the Elizabethan Stage","authors":"James P. Bednarz","doi":"10.1093/OXFORDHB/9780198727682.013.1","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780198727682.013.1","url":null,"abstract":"This chapter examines the institutional, professional, economic, and social contexts that shaped the original production of Shakespeare’s comedies. It focuses on how these plays were first staged in a hybrid theatrical marketplace that consisted of both ‘public’ and ‘private’ venues. It describes how the business model of the Lord Chamberlain’s Men combined common and aristocratic patronage and how its repertoire merged popular and courtly cultures. Staged in amphitheatres, town halls, the great halls of royal palaces, the private residences of aristocrats, and at the Inns of Court, Shakespeare’s comedies addressed heterogeneous audiences in complex ways. Indeed, one of the foundations of Shakespeare’s achievement was his ability to draw on elements of both traditions in comedies that are relentlessly adaptive and globally engaging.","PeriodicalId":421471,"journal":{"name":"The Oxford Handbook of Shakespearean Comedy","volume":"49 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114009499","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Holy Adultery 神圣的通奸
The Oxford Handbook of Shakespearean Comedy Pub Date : 2018-09-13 DOI: 10.1093/oxfordhb/9780198727682.013.31
John Parker
{"title":"Holy Adultery","authors":"John Parker","doi":"10.1093/oxfordhb/9780198727682.013.31","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780198727682.013.31","url":null,"abstract":"This essay tries to explain the curiously positive role played by adultery in Shakespearean comedy as an echo of, and a commentary on, its role in Christianity. Medieval dramatists had found in scripture everything necessary for a sacred comedy whose ‘matter and ground’ (to borrow the formulation of an early modern antitheatricalist) was ‘Love, Bawdrie, Cosonage, Flatterie, Whoredome, Adulterie’ and which, partly for that reason, came to be suppressed. In its place, Shakespearean comedy repeatedly shows marital vows forging precisely the sort of commitment on which Christians are most likely to default; and this default, rather than simply betraying their love, functions as its premise—an opportunity, if nothing else, for one believer to exercise over another the highest Christian ideal: that of forgiveness. As a consequence married love is not so much threatened as sustained by the fantasy of adultery and the subsequent mercy that this fantasy demands.","PeriodicalId":421471,"journal":{"name":"The Oxford Handbook of Shakespearean Comedy","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128022325","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Stage Props and Shakespeare’s Comedies 舞台道具与莎士比亚喜剧
The Oxford Handbook of Shakespearean Comedy Pub Date : 2018-09-13 DOI: 10.1093/OXFORDHB/9780198727682.013.23
L. P. Wilder
{"title":"Stage Props and Shakespeare’s Comedies","authors":"L. P. Wilder","doi":"10.1093/OXFORDHB/9780198727682.013.23","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780198727682.013.23","url":null,"abstract":"While they might seem like ‘toys’ or ‘trifles’, stage properties in Shakespeare’s comedies subtly unsettle the relationship between human subject and non-human object. Even such seemingly innocuous comedic props as letters (in Two Gentlemen of Verona and Love’s Labour’s Lost) and rings (in The Merchant of Venice) can be given incommensurate weight by the comic plot. Drawing on both semiotic and phenomenological accounts of stage props as well as the synthesis of these approaches in the work of Erika Lin and Andrew Sofer, this essay explores the broad continuum between the comically disruptive misdirected letter and absent, irreplaceable objects like Shylock’s turquoise ring and demonstrates just how rigorously Shakespeare’s comic props test our investment in comedic narrative and the comic resolution.","PeriodicalId":421471,"journal":{"name":"The Oxford Handbook of Shakespearean Comedy","volume":"91 48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128835413","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
Comedies of Tough Love 《严厉的爱》喜剧
The Oxford Handbook of Shakespearean Comedy Pub Date : 2018-09-13 DOI: 10.1093/oxfordhb/9780198727682.013.32
Joanne Diaz
{"title":"Comedies of Tough Love","authors":"Joanne Diaz","doi":"10.1093/oxfordhb/9780198727682.013.32","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780198727682.013.32","url":null,"abstract":"Shakespeare’s comedies feature characters who are always open to the possibilities of Ovidian transformation, and in four comedies in particular—Two Gentlemen of Verona, Taming of the Shrew, Love’s Labour’s Lost, and Much Ado about Nothing—the transformation can be a painful one. This chapter surveys these four comedies in order to understand the relationship between teaching and taming. I engage with recent Shakespeare criticism that foregrounds the importance of Ovid’s work to the rhetorical practices of Tudor-era grammar schools. I also draw upon readings of Ovid’s Heroides, Ars Amatoria, and Metamorphoses in order to articulate a vision of a pedagogical enterprise that on the one hand privileged translation and transformation and on the other hand attempted to regulate the bodies of Tudor schoolboys. In doing so, I explore the complex Ovidian engagements that produced knowledge of the body and of relationships in Shakespeare’s culture and on his stage.","PeriodicalId":421471,"journal":{"name":"The Oxford Handbook of Shakespearean Comedy","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127707151","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Place and Being in Shakespearean Comedy 莎士比亚喜剧中的地点与存在
The Oxford Handbook of Shakespearean Comedy Pub Date : 2018-09-13 DOI: 10.1093/OXFORDHB/9780198727682.013.10
Kent Cartwright
{"title":"Place and Being in Shakespearean Comedy","authors":"Kent Cartwright","doi":"10.1093/OXFORDHB/9780198727682.013.10","DOIUrl":"https://doi.org/10.1093/OXFORDHB/9780198727682.013.10","url":null,"abstract":"In Shakespeare’s comedies, place is related to identity, so that a shift in location can alter a character’s sense of self. Renaissance English culture had two different notions of space and place, a proto-scientific sense of uniformly measurable space and qualitatively undifferentiated locales in tension with an opposite sense that places could have affective or magical powers. Related to that second sense, place in Shakespeare’s comedies functions more figuratively and poetically than realistically. The metaphoric home of Shakespearean comedy is Italy, because of its reputation not only for humanist culture and cosmopolitanism but also for moral complexity and openness; imaginatively, it constitutes a place where change is possible. In that spirit, Shakespeare’s comedies often involve movement from a constricting ‘regulative’ locale to one more protean, more open to self-discovery and transformation. Those protean places may even exert a certain power, as if in another place one could become another self.","PeriodicalId":421471,"journal":{"name":"The Oxford Handbook of Shakespearean Comedy","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132913565","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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