Throwing fresh light on a much discussed but still controversial field, this collection of essays places the presence of Italian literary theories against and alongside the background of English dramatic traditions, to assess this influence in the emergence of Elizabethan theatrical convention and the innovative dramatic practices under the early Stuarts.
Throwing fresh light on a much discussed but still controversial field, this collection of essays places the presence of Italian literary theories against and alongside the background of English dramatic traditions, to assess this influence in the emergence of Elizabethan theatrical convention and the innovative dramatic practices under the early Stuarts.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Michele Marrapodi is Full Professor of English Language and Literature, and History of English Drama, in the Faculty of Arts at the University of Palermo, Italy.
Inhaltsangabe
Introduction Shakespeare against Genres I: Art, Rhetoric, Style 1: Sheakespeare and the Art of Forgetting 2: Shakespearean Comedy: Postmodern Theory and Humanist Poetics 3: Shakespeare: What Rhetoric Accomplishes 4: Shakespearean Outdoings: Titus Andronicus and Italian Renaissance Tragedy 5: Transalpine Wonders: Shakespeare's Marvelous Aesthetics II: Genres, Models, Forms 6: Hamlet versus Commedia dell'Arte 7: The End of Shakespeare's Machiavellian Moment: Julius Caesar, Shakespeare's Historiography, and Dramatic Form 8: The Problem of Old Age: Anticomedy in As You Like It and Ruzante's L'Anconitana 9: Ruzante and Shakespeare: A Comparative Case-Study 10: The 'Woman as Wonder' Trope: From Commedia Grave to Shakespeare's Pericles and the Last Plays III: Spectacle, Aesthetics, Representation 11: Shakespeare's Italian Carnival: Venice and Verona Revisited 12: (Re)fracted Art and Ordered Nature: Italian Renaissance Aesthetics in Shakespeare's Richard II 13: 'Tis Pity She's Italian: Performing the Courtesan on the Early Seventeenth-Century English Stage 14: Silence, Seeing, and Performativity: Shakespeare and the Paragone 15: Italian Spectacle and the Worlds of James VI/I IV: Coda 16: How Do We Know When Worlds Meet?
Introduction Shakespeare against Genres I: Art, Rhetoric, Style 1: Sheakespeare and the Art of Forgetting 2: Shakespearean Comedy: Postmodern Theory and Humanist Poetics 3: Shakespeare: What Rhetoric Accomplishes 4: Shakespearean Outdoings: Titus Andronicus and Italian Renaissance Tragedy 5: Transalpine Wonders: Shakespeare's Marvelous Aesthetics II: Genres, Models, Forms 6: Hamlet versus Commedia dell'Arte 7: The End of Shakespeare's Machiavellian Moment: Julius Caesar, Shakespeare's Historiography, and Dramatic Form 8: The Problem of Old Age: Anticomedy in As You Like It and Ruzante's L'Anconitana 9: Ruzante and Shakespeare: A Comparative Case-Study 10: The 'Woman as Wonder' Trope: From Commedia Grave to Shakespeare's Pericles and the Last Plays III: Spectacle, Aesthetics, Representation 11: Shakespeare's Italian Carnival: Venice and Verona Revisited 12: (Re)fracted Art and Ordered Nature: Italian Renaissance Aesthetics in Shakespeare's Richard II 13: 'Tis Pity She's Italian: Performing the Courtesan on the Early Seventeenth-Century English Stage 14: Silence, Seeing, and Performativity: Shakespeare and the Paragone 15: Italian Spectacle and the Worlds of James VI/I IV: Coda 16: How Do We Know When Worlds Meet?
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