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"As the poetics is based on the texts (not derived by deduction or theoretical extension from some principle of poetics), so it is applied as a tool of analysis to the texts and used in conjunction with evaluation. The underlying assumption is that the task of poetics is instrumental, and that its usefulness has to be demonstrated and verified in practice. Hence, the division of the book into two parts. As Part I formulates a poetics on the basis of the texts, so Part II applies the poetics to the major texts - always within the dynamics of the multiple-plot and multi-layered perspective on a play. Part II focuses in detail on The Merry Wives of Windsor, The Merchant of Venice, and Twelfth Night, analyzing the agons and placing them in relation to the comedy of love and the perspective of folly."--Jacket.
The first fifty volumes of this yearbook of Shakespeare studies are being reissued in paperback.
This collection of essays and reviews represents the most significant and comprehensive writing on Shakespeare's The Comedy of Errors .This volume of critical essays also features a comprehensive critical history, a full bibliography, and photographs and reviews of major productions of the play around the world.
This comprehensive guide to The Comedy of Errors brings together the most significant and authoritative insights on this early Shakepearean comedy. The texts, presented chronologically, represent the best writings on the play - from a 1594 review of a performance at Gray's Inn to contemporary feminist and new historicist interpretations. Important textual analyses by Samuel Taylor Coleridge, George Bernard Shaw, and Harry Levin, among others, are included with five previously unpublished essays by leading Shakespeare experts.
Contains The Taming of the Shrew, A Midsummer Night's Dream, The Merchant of Venice and Twelfth Night.
"Each edition includes: " - Freshly edited text based on the best early printed version of the play - Full explanatory notes conveniently placed on pages facing the text of the play - Scene-by-scene plot summaries - A key to famous lines and phrases - An introduction to reading Shakespeare's language - An essay by a leading Shakespeare scholar providing a modern perspective on the play - Illustrations from the Folger Shakespeare Library's vast holdings of rare books "Essay by" Arthur F. Kinney The Folger Shakespeare Library in Washington, D.C., is home to the world's largest collection of Shakespeare's printed works, and a magnet for Shakespeare scholars from around the globe. In addition to exhibitions open to the public throughout the year, the Folger offers a full calendar of performances and programs. For more information, visit www.folger.edu.
In Worldly Shakespeare Richard Wilson proposes that the universalism proclaimed in the name of Shakespeare's playhouse was tempered by his own worldliness, the performative idea that runs through his plays, that if 'All the world's a stage', then 'all the men and women in it' are 'merely players'. Situating this playacting in the context of current concerns about the difference between globalization and mondialisation, the book considers how this drama offers itself as a model for a planet governed not according to universal toleration, but the right to offend: 'But with good will'. For when he asks us to think we 'have but slumbered' throughout his offensive plays, Wilson suggests, Shakespeare is presenting a drama without catharsis, which anticipates post-structuralist thinkers like Jacques Rancire and Slavoj A iA ek, who insist the essence of democracy is dissent, and 'the presence of two worlds in one'. Living out his scenario of the guest who destroys the host, by welcoming the religious terrorist, paranoid queen, veiled woman, papist diehard, or puritan fundamentalist into his play-world, Worldly Shakespeare concludes, the dramatist instead provides a pretext for our globalized communities in a time of Facebook and fatwa, as we also come to depend on the right to offend 'with our good will'.
Applying systems theory to the comedies of Chekhov, Balzac, Kleist, Moliere, and Shakespeare, A Concept of Dramatic Genre and the Comedy of a New Type: Chess, Literature, and Film approaches dramatic genre from the point of view of the degree of richness and strength of a character’s potential. Its main focus is to establish a methodology for analyzing the potential from multidimensional perspectives, using systems thinking. The whole concept is an alternative to the Aristotelian plot-based approach and is applied to an analysis of western and eastern European authors as well as contemporary American film. This innovative study consists of three parts: The first part is mostly theoretical, proposing a new definition of the dramatic as a category linked to general systems phenomena and offering a new classification of dramatic genre. In the second part, Ulea offers a textual analysis of some works based on this new classification. She analyzes comedies, tragedies, and dramas on the same or similar topics in order to reveal what makes them belong to opposite types of dramatic genre. Additionally, she considers the question of fate and chance, with regard to tragedy and comedy, from the point of view of the predispositioning theory. In the third part, Ulea explores an analysis of the comedy of a new type—CNT. Her emphasis is on the integration of the part and the whole in approaching the protagonist’s potential. She introduces the term quasi-strong potential in order to reveal the illusory strength of protagonists of the CNT and to show the technique of CNT’s analysis and synthesis. Ulea’s research begins with the notion of the comic, traditionally considered synonymous with the laughable, and attempts to approach it as independent from the laughable and laughter. The necessity to do so is dictated by the desire to penetrate the enigmatic nature of Chekhov’s comedy. The result is A Concept of Dramatic Genre and the Comedy of a New Type: Chess, Literature, and Film, a completely new approach to potential and systems thinking—which has never been a focus of dramatic theory before. Such potential is the touchstone of the comic and comedy, their permanent basic characteristic, the heart and axis around which the comedic world spins.